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Displayed below are some selected recent viaLibri matches for books published in 1929

        David Golder EDITION ORIGINALE Service de presse ENVOI AUTOGRAPHE

      Paris: Grasset, 1929. Fine. Grasset, Paris 1929, 12x19cm, broché. - First Edition, one of 300 numbered copies on Alfa paper reserved to the press. Autograph signed by the author Jean Ajalbert. Nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 300 exemplaires numérotés sur alfa réservés au service de presse. Envoi autographe signé de Irène Némirovsky à Jean Ajalbert. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Havelock Ellis: in appreciation; by Elie Faure, Bertrand Russell, H.L. Mencken, Henry W. Nevinson, Henri Barbusse, Clarence Darrow, Judge Ben B. Lindsey, John A. Hobson, Marguerite Tracy, Dr. B. Malinowsky, Ellen Key, and thirty-four other important contributors; an unpublished letter by Thomas Hardy to Havelock Ellis, & a foreword by Dr. Isaac Goldberg

      The Oriole Press, Berkeley Heights, NJ 1929 - xlvi, 299p., first edition t.e.g. with deckle edge, one of 450 copies, front., illus., trace of edge wear, linen spine with paper label, mossgreen calendared paper over boards, very good condition. Colophon notes that presswork was done on a "Favorite" that was "found three summers ago abandoned in a woodshed in his vicinity. a rusty mass" Other contributors include: Mrs. Havelock Ellis, Edward Carpenter, Waldo Frank, Horace Traubel, J. William Lloyd, Bolton Hall, Pierre Ramus, Olive Schreiner and others [Attributes: First Edition; Hard Cover]

      [Bookseller: Bolerium Books Inc.]
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        Robert Supplément à l'Ecole des femmes EDITION ORIGINALE Service de presse ENVOI AUTOGRAPHE

      Paris: Nrf, 1929. Fine. Nrf, Paris 1929, 11x16,5cm, broché. - First edition, one of the copies alfa reserved to the press service. Precious autograph signed by the author (Jean-Emile) Ploughman. A jaw with traces of rubbing in the middle with small lacks of paper. - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires sur alfa réservés au service de presse. Précieux envoi autographe signé de André Gide à (Jean-Emile) Laboureur. Un mors comportant des traces de frottements en son milieu avec petits manques de papier, un infime accroc en tête du dos.

      [Bookseller: Librairie Le Feu Follet]
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        John Jacob Astor, Landlord of New York (with laid in Astor signature)

      Philadelphia: Lippincott Co, 1929. 1st Edition. Hard Cover. Very Good. 8vo, 296pp, index, 16 illustrations book with no dust jacket. Book on John Jacob Astor contents include 6 sections: A Venture in Flutes; The Forest Runner; Fur and Tea; An Apostle of Empire; The First Trust; The Land Lord of New York.The value on this item is the old signed paper originally tipped and glue has dried with paper now laid in, propbbly the end of a letter closing and signed John Jacob Astor. A nice clean John Jacob Astor (1763-1848) signature uncommon in the market these days. John Jacob Astor,  (1763-1848) born Waldorf, Germany, lived New York, N.Y.), fur magnate and founder of a renowned family of Anglo-American capitalists, business leaders, and philanthropists. His American Fur Company is considered the first American business monopoly.Astor started a fur-goods shop in New York City about 1786 after learning about the fur trade while aboard the ship that took him to the U.S. Benefitting from the Jay Treaty between England and the U.S. (1794) that opened up new markets in Canada and the Great Lakes region, and from shrewd dealings with Indian tribes, he had by 1800 amassed $250,000 and become the leading figure in the fur trade. Given permission to trade in ports monopolized by the British East India Company, he made lucrative fur transactions in China (1800-17), but his plan to establish a network of fur-trading posts around Astoria (now in Oregon) failed when the British captured the post during the War of 1812.At the same time, however, Astor invested in New York City real estate that became the foundation of the family fortune. His son, William Backhouse Astor (1792-1875), greatly expanded the family real-estate holdings, building more than 700 stores and dwellings in New York City. The wealthiest person in the U.S. at the time of his death, the senior Astor bequeathed $400,000 for the founding of a public library, the Astor Library, in New York City, which was consolidated with others as the New York Public Library in 1895. quoted from Encyclopædia Britannica online.

      [Bookseller: Lord Durham Rare Books (IOBA)]
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        Diatomic Molecules According to the Wave Mechanics. II Vibrational Levels", The Physical Review, Volume 34, 1, July 1, 1929, pp. 57-65

      FIRST EDITION IN ORIGINAL WRAPS OF THE MORSE POTENTIAL, "a convenient interatomic interaction model for the potential energy of a diatomic molecule. It is a better approximation for the vibrational structure of the molecule than the QHO (quantum harmonic oscillator) because it explicitly includes the effects of bond breaking, such as the existence of unbound states. It also accounts for the anharmonicity of real bonds and the non-zero transition probability for overtone and combination bands. The Morse potential can also be used to model other interactions such as the interaction between an atom and a surface… Its mathematical form inspired the MLR (Morse/Long-range) potential, which is the most popular potential energy function used for fitting spectroscopic data" (Wikipedia). ALSO INCLUDED IN THIS VOLUME: Robertson, H. P., "The Uncertainty Principle" in The Physical Review 34, 1, July 1, 1929, pp. 163-164. FIRST EDITION IN ORIGINAL WRAPS OF A SEMINAL MODIFICATION OF THE HEISENBERG UNCERTAINTY PRINCIPLE. It is one of the most important and "common general form of the uncertainty principle" and is known as "the Robertson uncertainty relation" (Wikipedia). Werner Heisenberg's uncertainty principle is, at its core, the principle that the momentum and position of a particle cannot both be precisely determined at the same time. It stands at the heart of quantum mechanics. Heisenberg's work was "quickly taken up, discussed, and sought to be extended or modified by many physicists" (Kraugh: Quantum Generations, p. 208). Kennard all but immediately built upon Heisenberg's work with his mathematically correct derivation of the inequality formula for uncertainty position and momentum. From there [and in this paper], the American physicist Howard Percy Robertson was able to generalize Kennard's formula for measures other than position and momentum - in other words, Robertson generalized the formula to any pair of observables in any state. CONDITION & DETAILS: Minneapolis: American Physical Society. 4to (10 x 7 inches; 250 x 175mm). Original paper wraps. Complete. Minor rubbing at the edge tips; very slight surface spotting to the wraps; professionally repaired closed tear on the rear wrap and the last five pages - all genuinely unobtrusive.

      [Bookseller: Atticus Rare Books]
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        Hebdomeros. First Edition. (N° 738)

      Editions du Carrefour. Collection Bifur, Paris 1929 - Examplaire numeroté N° 718 (Ver fotografía) Rotura en el lomo. Roces y fatigas en sus tapas. Algunas manchas de humedad. Texto íntegro. WE SEND (free of charge) video demonstration of the conservation status of the book. ENVIAMOS (a solicitud y sin cargo) video de demostración del estado de conservación del ejemplar. [Attributes: Soft Cover]

      [Bookseller: Eduardo Martínez Moreira]
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        La Plante. Cent vingt planches et héliogravure d'après des détails très agrandis de formes végétales. Introduction de Charles Nierendorf.

      Paris: Librarie des Arts Décoratifs 1929 - First French edition, folio, xv, (i) pp, followed by 120 black and white plates. Mild browning to endpapers only. Original gilt titled green cloth, d.w. browned and a little soiled with some loss to spine ends and extremities. Scarce.

      [Bookseller: Bow Windows Bookshop (ABA, ILAB)]
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        Indonesie. - Verkenningsvliegtocht over West-Java 23, October 1929, deelnemers: Dr. E. Ganz, Dr. E. Frei, Dr. G.L. Smit Sibinga, Dipl. Ing. O. Straub.

      1929,. in-4to, 1 Faltkarte von West-Java (Kopie: Verkenningsvliegtocht over West-Java) + 51 Orig.-Fotos (Foto Dr. E. Ganz) + Zeitungsartikeln, O. Papp-Mappe.. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        All Quiet on the Western Front

      G. P. Putnam's Sons, London 1929 - A Lovely copy of this highspot of WWI literature. First translation into English, preceding the more common American edition by Little, Brown. A Fine copy of the book in a Fine dust jacket with two short tears at the lower edge of the front panel, otherwise flawless. The nicest copy by quite some margin that we have handled, equal to any we've seen. Originally published in Germany in 1928, the book became an international best-seller with over 2.5 million copies worldwide within the first year and a half of publication. It gives a German soldier's perspective on the first world war and then the alienation felt after returning to a civilian lifestyle. Adapted to the screen by Lewis Milestone in 1930 winning academy awards for Best Picture and Best Director. Fine in Fine. dust jacket. [Attributes: First Edition]

      [Bookseller: Whitmore Rare Books, Inc. -- ABAA, ILAB]
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        Lula. Kisregény. Írta és eredeti ólommetszetekkel illusztrálta --. [Lula. Short Novel. Written and Illsutrated by --.]

      Dante (Hungária), Budapest 1929 - With 25 full page illustrations. First edition. In original illustrated paper. 95, (1) p. Zsigmond (Sigismond, Sigismund Anton) Cselényi Walleshausen (1887 or 1888 - after 1957) was a Hungarian Expressionist painter, graphic artist, author and puppeteer. Studied painting in Budapest and Paris. Participated in numerous exhibitions all over Europe, among them at the Wiener Salon in 1920 and at Belvederé in 1922. He was involved in the modernist and avant-garde movements, associated with the "KÚT" (Képz?m?vészek Új Társasága [New Society of Artist]), published his articles in the periodical of "KÚT" and in Tivadar Raith's "Magyar Írás". In the 1930s Walleshausen moved to Paris and worked at Géza Blattner's renowned avant-garde puppet theater, the "Arc-en-Ciel". [Attributes: First Edition]

      [Bookseller: Földvári Books]
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      Paris: Nrf, 1929. Fine. Nrf, Paris 1929, 17x22cm, relié. - First edition, one of 109 numbered copies on "pur-fil" paper and laid reimposed in quarto foolscap, deluxe edition. Binding in full black morocco, flat spine, large decorative listelsgéométrique - [FRENCH VERSION FOLLOWS] Edition originale, un des 109 exemplaires numérotés sur vergé pur fil et réimposés au format in-quarto tellière, tirage de tête. Reliure en plein maroquin noir, dos lisse, plats comportant une importante plaque de papier glaçé noir à décor de listels géométriques blanc et bleu débordant sur le maroquin, contrplats et gardes doublés de papiers glaçés noir et bleu, couvertures et dos conservés, tête dorée sur témoins, étui à rabats de papier doublé de feutrine et dos de rhodoïd, étui bordé de maroquin noir, reliure signée de Pierre-Lucien Martin. Notre exemplaire est enrichi d'une lettre autographe signée de la mère d'Antoine de Saint-Exupéry d'une page et demie sur un feuillet in-4 à entête de l'Infirmerie de la gare d'Ambérieu en date du 29 Octobre 1918 dans laquelle il est question de son fils. Très bel exemplaire parfaitement établi en reliure à décor.

      [Bookseller: Librairie Le Feu Follet]
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        CLIMATS .Avec 24 gouaches de Jean Hugo

      Le Livre, Paris 1929 - grand in4° 1/2 veau glacé bordeaux à bandes, caissons ornés , 307 pp , couvertures conservées .Tiré à 275 exemplaires numérotés . Les gouaches sont réhaussées .Quelques frottements légers sur les nerfs .

      [Bookseller: Librairie Nord Sud]
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        MOLODAYA GVARDIYA - 13. Avant garde cover. (La Jeune garde, The Young Gards).

      1929 - Moscou, 1929. UN fascicule au format 175X253mm. Couverture illustrée d'une composition typographique en orange et bleu de Nicolai Il'in. Voir les 5 photos. (Avant garde cover, avant garde periodical, russian avant garde, constructivism). [Attributes: Soft Cover]

      [Bookseller: Le Grand Verre]
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      SHEPARD. MILNE,A.A. THE CHRISTOPHER ROBIN STORY BOOK. NY: Dutton (1929). 4to, green cloth spine and tips, pink pictorial boards, VERY FINE IN ORIGINAL PICTORIAL BOX (box lightly soiled). The LARGE PAPER EDITION LIMITED TO ONLY 350 NUMBERED COPIES SIGNED BY MILNE AND SHEPARD. Illustrated throughout in black and white by E.H. Shepard, this is a beautiful copy and very scarce.

      [Bookseller: Aleph-Bet Books, Inc.]
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        Voyage au Congo suivi du Retour du Tchad et illustré de soixante-quatre photographies inédites de Marc Allégret

      Paris: Gallimard, (1929). First edition. Contemporary calf, gilt, by Millioud, original wrappers and spine preserved. 13 inches x 10 inches. Slight wear to extremities, endpapers foxed. One of 1500 copies on Arches paper, this not numbered, but initialed by Gide in place of a number. With a long presentation inscription from Gide to Rosa and Miguel Covarrubias. It was at Gide's suggestion that Covarrubias began writing his masterpiece "Island of Bali".

      [Bookseller: Thomas A Goldwasser Rare Books]
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        Farewell to Arms

      Charles Scribner’s Sons, New York 1929 - SIGNED/LIMITED EDITION. A magnificent copy authentically SIGNED by Ernest Hemingway on the limitation page. The book is bound in the original publisher's cloth. The book is in excellent condition. The binding is tight with NO cocking or leaning and the boards are crisp with slight wear. The pages are exceptionally clean with NO writing, marks or bookplates in the book. A stunning copy SIGNED by the author with the ORIGINAL publisher's matching slipcase. We buy SIGNED Hemingway First Editions. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
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      London: Faber and Gwyer. 1929. First edition thus. Signed Limited edition. Publisher's original vellum with titles and illustration in orange and black to the upper board and spine, in dustwrapper. A superb fine copy, the vellum very clean and bright, the contents without previous owner's inscriptions or stamps. Complete with the original dustwrapper which has several large closed tears but little in the way of loss. An excellent example. One of 300 copies of the signed limited illustrated edition. This one un-numbered and signed in green by Siegfried Sassoon and in pencil by William Nicholson on the limitation page, as called for. The first volume in the author's celebrated World War One trilogy. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

      [Bookseller: Lucius Books]
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        Urformen der Kunst. Photographische Pflanzenbilder von Professor Karl Blossfeldt. Herausgegeben mit einer Einleitung von Karl Nierendorf. 120 Bildtafeln.

      Berlin, Wasmuth 1929.. Berlin, Verlag Ernst Wasmuth A.G. (1929). Zweite Auflage 1929. XVII; 1 Blatt; 120 auf Stege montierte, einseitig bedruckte Kupfertiefdrucktafeln mit insgesamt 164 meist ganzseitigen Abbildungen. Original-Leinenband mit goldgeprägtem Rücken- und Vorderdeckeltitel, zusätzlich auf dem Vorderdeckel ornamentale Goldprägung. Fragment des Original-Schutzumschlages, der vordere illustrierte Teil, liegt lose bei. (32 x 25,2 cm) 4°.. - "... Wir Betrachtenden aber wandeln unter diesen Riesenpflanzen wie Liliputaner. ..." (Walter Benjamin) Die Ikone der Makro- bzw. Pflanzenphotographie der Neuen Sachlichkeit in der besten Ausgabe - Erste Auflage, zweiter (besserer) Druck. Parr/ Badger I, 96. Roth 48. The Open Book 66/ 67. Auer 133. "Den Einband zeichnete Lucian Zabel Berlin. Gesamte Druckherstellung 'Ganymed' Berlin." Die Rückenvergoldung ist unter Lichteinwirkung verblasst, das unter Kapital etwas verschlissen, die hintere Stehkante mit kleiner Druckstelle, die schweren Tafeln haben den Block etwas ausgehebelt, jedoch nur gelockert. Die Vorsätze papierbedingt Auf dem vorderen Innendeckel die Klebemarke eines Händlerkollegen aus den Haag ("M. Dijkhoffz Boek- en Kunsthandel Plaats 27 - 's-Gravenhage", auf dem vorderen fliegenden Vorsatz recto ein nahezu ausradierter, aber noch sichtbarer handschriftlicher, zeitgenössischer Besitzeintrag (" A. Zillesen Fieth[?] van F. 9.12.29". Die Tafel 4 ("Equisetum hiemale. Winter-Schachtelhalm Querschnitt eines Stengels in 30facher Vergrößerung.") diente auch als Vorlage für den Original-Schutzumschlag, dessen Fragment in Form des Vorderteiles hier mit leichten Mängeln beiliegt, eine Falzung in der Mitte, die Ränder verknickt und mit Einrissen, papier- und lichtbedingt etwas gebräunt. Die 2. Auflage enthält, unverändert zur formatmäßig kleineren Erstausgabe von 1928, ebenfalls 120 Fototafeln im Kupfertiefdruck besserer Qualität als der Erstausgabe. Die in der Summe größere Zahl der Abbildungen ergibt sich daraus, daß auf einigen Tafeln zwei, manchmal. sogar drei Abbildungen stehen. Abschließend sei noch Walter Benjamin's Rezension der Erstausgabe zu einem der auch heute noch einflußreichsten Photobücher weltweit zitiert: "Neues von Blumen ) Kritisieren ist eine gesellige Kunst. Auf das Urteil des Rezensenten pfeift ein gesunder Leser. Aber was er im Tiefsten goutiert, ist die schöne Unart, uneingeladen mitzuhalten, wenn der andere liest. Das Buch auf solche Weise aufzuschlagen, so daß es winkt wie ein gedeckter Tisch, an dem wir mit all unseren Einfällen, Fragen, Überzeugungen, Schrullen, Vorurteilen, Gedanken Platz nehmen, so daß die paar hundert Leser (sind es so viele ?) in dieser Gesellschaft verschwinden und gerade darum sich's wohl sein lassen - das ist Kritik. Zumindest die einzige, die dem Leser Appetit auf ein Buch macht. Sind wir für diesmal einig, so soll auf den einhundertzwanzig Tafeln dieses Buches für zahllose Betrachtungen und zahllose Betrachter gedeckt sein. Ja, so viel Freunde wünschen wir diesem reichen und nur mit Worten kargenden Werke. Man wird aber das Schweigen des Forschers ehren, der diese Bilder hier vorlegt. Vielleicht gehört sein Wissen zu jener Art, die den stumm macht, der es besitzt. Und hier ist wichtiger als das Wissen das Können. Wer diese Sammlung von Pflanzenphotos zustande brachte, kann mehr als Brot essen. Er hat in jener großen Überprüfung des Wahrnehmungsinventars, die unser Weltbild noch unabsehbar verändern wird, das Seine geleistet. Er hat bewiesen, wie recht der Pionier des neuen Lichtbilds, Moholy-Nagy hat, wenn er sagt: "Die Grenzen der Photographie sind nicht abzusehen. Hier ist alles noch so neu, daß selbst das Suchen schon zu schöpferischen Resultaten führt. Die Technik ist der selbstverständliche Wegbereiter dazu. Nicht der Schrift- sondern der Photographieunkundige wird der Analphabet der Zukunft sein." Ob wir das Wachsen einer Pflanze mit dem Zeitraffer beschleunigen oder ihre Gestalt in vierzigfacher Vergrößerung zeigen - in beiden Fällen zischt an Stellen des Daseins, von denen wir es am wenigsten dachten, ein Geysir neuer Bilderwelten auf. Diese Photographien erschließen im Pflanzendasein einen ganzen unver muteten Schatz von Analogien und Formen. Nur die Photographie vermag das. Denn es bedarf einer starken Vergrößerung, ehe diese Formen den Schleier, den unsere Trägheit über sie geworfen hat, von sich abtun. Was ist von einem Betrachter zu sagen, dem sie schon in der Verhüllung ihre Signale geben? Nichts kann die wahrhaft neue Sachlichkeit seines Vorgehens besser dartun, als der Vergleich mit jenem einstigen unsachlichen und doch so genialen Verfahren, kraft dessen der ebenso geschätzte wie unverstandene Grandville in seinen "Fleurs animees" den ganzen Kosmos aus dem Pflanzenreiche hervorgehen ließ. Er greift es vom entgegengesetzten Ende weiß Gott nicht zart - an. Er stempelt diesen reinen Naturkindern das Sträflingsbrandmal der Kreatur, das Menschengesicht, mitten in die Blüte hinein. Dieser große Vorläufer der Reklame beherrschte eines ihrer Grund prinzipien, den graphischen Sadismus, wie kaum ein anderer. Ist es nicht merkwürdig, hier nun ein anderes Prinzip der Reklame, die Vergrößerung ins Riesenhafte der Pflanzenwelt, sanft die Wunden heilen zu sehen, die die Karikatur ihr schlug? "Urformen der Kunst" - gewiß. Was kann das aber anderes heißen als Urformen der Natur ? Formen also, die niemals ein bloßes Vorbild der Kunst, sondern von Beginn an als Urformen in allem Geschaffenen am Werke waren. Im übrigen muß es dem nüchternsten Betrachter zu denken geben, wie hier die Vergrößerung des Großen - z. B. der Pflanze oder ihrer Knospe oder des Blattes - in so ganz andere Formenreiche hineinführt, wie die des Kleinen, etwa der Pflanzenzelle im Mikroskop. Und wenn wir uns sagen müssen, daß neue Maler wie Klee und mehr noch Kandinski seit langem damit beschäftigt sind, mit den Reichen uns anzufreunden, in die das Mikroskop uns barsch und gewaltsam entführen möchte, so begegnen in diesen vergrößerten Pflanzen eher vegetabilische "Stilformen". In dem Bischofstab, den ein Straußfarn darstellt, im Rittersporn und der Blüte des Steinbrech, die auch an Kathedralen als Fensterrose ihrem Namen Ehre macht, indem sie die Mauern durchstößt, spürt man ein gotisches parti-pris. Daneben freilich tauchen in Schachtelhalmen älteste Säulenformen, im zehnfach vergrößerten Kastanien- und Ahornsproß Totembäume auf, und der Sproß eines Eisenhufes entfaltet sich wie der Körper einer begnadeten Tänzerin. Aus jedem Kelche und jedem Blatte springen uns innere Bildnotwendigkeiten entgegen, die in allen Phasen und Stadien des Gezeugten als Metamorphosen das letzte Wort behalten. Das rührt an eine der tiefsten, unergründlichsten Formen des Schöpferischen, an die Variante, die immer vor andern die Form des Genius, der schöpferischen Kollektiva und der Natur war. Sie ist der fruchtbare, der dialektische Gegensatz zur Erfindung: das Natura non facit saltus der Alten. Das weibliche und vegetabilische Lebensprinzip selber möchte man mit einer kühnen Vermutung sie nennen dürfen. Die Variante ist das Nachgeben und das Beipflichten, das Schmiegsame und das, was kein Ende findet, das Schlaue und das Allgegenwärtige. Wir Betrachtenden aber wandeln unter diesen Riesenpflanzen wie Liliputaner. Brüderlichen Riesengeistern, sonnenhaften Augen, wie Goethe und Herder sie hatten, ist es noch vorbehalten, alle Süße aus diesen Kelchen zu saugen. ____________________________________________________________________________________________________ ) Karl Bloßfeldt, Urformen der Kunst. Photographische Pflanzenbilder. Heraus gegeben mit einer Einleitung von Karl Nierendorf. Berlin: Ernst Wasmuth [1928]. XVIII, 120 S." ex: Walter Benjamin: Kritiken und Rezensionen. Gesammelte Schriften III. (1912 - 1940) S. 151 ff Interessant ist es zu wissen, daß nahezu zeitgleich Ernst Fuhrmann Photobücher mit vermeintlich ähnlichen Abbildungen im Auriga-, bzw. Folkwang-Verlag veröffentlichte, jedoch mit völlig gegensätzlicher Intention, an denen u.a. Alfred Renger-Patzsch als Photograph mitwirkte. Blossfeldt richtete seinen Fokus, wie sein Titel es auch ausdrückte, auf die Kunst, das Dekorative, Fuhrmann hingegen auf "Die Pflanze als Lebewesen", was eben auch Benjamin sofort erkannt hatte. * Zahlung mit VISA/ MASTERCARD möglich. Versand mit Deutsche Post oder DHL. *

      [Bookseller: Heinrich Heine Antiquariat Lustenberger ]
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        Russland, Europa, Amerika. Ein architektonischer Querschnitt.

      Berlin, Mosse 1929.. 33,5 x 24 cm. 214 S., 5 Bl. Mit 100 ganzseit. Fotoabb. in Tiefdruck nach Aufnahmen des Architekten und anderen. Illustr. OHLn.. Heiting/Jaeger S. 181 ff. Jaeger 0215. Roth, The Open Book S. 78.- Erste Ausgabe.- Das Manifest des großen Architekten: "Zwischen diesen beiden Willenspolen Amerika und Rußland wird Europa vermitteln, wenn es sich auf sich selbst besinnt und sich solidarisch verkettet, wenn es Maß hält, Idee und Gehirn, Geist und Verstand zum Ausgleich bringt.".- Gutes Exemplar.

      [Bookseller: unterwegs antiquariat & galerie M.-L. Su]
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        [Photo Album]: Southern California Photos including the 1932 Los Angeles Olympic Opening Ceremony

      [Circa 1929-1932]. Large oblong quarto. String-tied flexible black buckram album. There are several blank pages in the second half of the album, occasional chipping and wear to the brittle pages, some leaves and photos detaxched, overall very good or better. Most of the photographs are pasted to the black paper leaves. Overall near fine. The album contains 175 black and white photographs (most 3" x 5"), circa 1929-32 (with a few earlier WWI images). Most are dated, and many are captioned. It contains images captured at Southern California beaches, Catalina, Santa Monica, Palm Springs, Griffith Park, and other locations, as well as some vacation photos from Washington State, Oregon, and Chicago. Perhaps most notably it includes 21 images from the the opening ceremony for the 1932 Olympic Games held at the Los Angeles Memorial Coliseum. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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      New York: Dodd Mead & Co 1929 - First US edition. Original orange cloth, lettered in black, in stylish Art Deco pictorial dustwrapper. A near fine copy in a fine dustwrapper, which is improbably bright and crisp with barely a blemish. Brings together the Wodehousian characters first introduced in The Secret of Chimneys. The flaps of this dustwrapper are free from print, implying it is a pre-publication issue or proof dustwrapper. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jonkers Rare Books]
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        Halcyon or the Future of Monogamy. IN UNCLIPPED DUSTWRAPPER

      Kegan Paul Trench Trubner 1929 Sm. 8vo. First Edition on laid paper; plum boards upper board and backstrip with printed paper labels a near fine copy in unclipped lightly age - soiled dustwrapper. With 20pp publisher's catalogue bound in at end. Crisp copy of one of Brittain's scarcest works. EXTREMELY SCARCE IN THIS CONDITION.

      [Bookseller: Island Books]
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        Saleman's Fabric Sample Case.

      Chicago: Chicago Woolen Mills Co., 1929 - Wooden sample case (320 × 442 × 180 mm) black leather-textured cloth-covered wooden case, with hinged lid cut on the slant, leather handle, black japanned clip-clasps, lower corners with leather protectors, metal brackets reinforcing jonts at rear of lid, and front of case; interior divided with one long section holding a catalogue and the order book, and six small "pigeonholes", each with three fabric sample cards; interior of lid with mounted paper banner strip - "Quality: In Fabric - In Workmanship - In Style". Case a little rubbed, soiled and with mild damping, cockling the cloth, on one corner of the lid, but overall the case and contents are very good. Folio catalogue, "What Well Dressed Men Will Wear: Autumn/Winter 1929-1930", wire-stitched in manila card wraps with green cloth reinforcing strip at the spine, stylish two-colour printed - orange and bottle green - cover design, 14 coloured plates and 2 monochrome; quarto order book, wire-stitched in light card wraps printed in blue with black cloth reinforcing strip at the spine, unused, carbon paper still in place, detailed measurement sheets; 18 sets of cloth samples, mounted on textured card each with an ivorene label - "Gauranteed All Wool - Tailored to Order" - over 120 swatches each with a paper label with detailed descriptions of composition and pattern; two price lists, one a double-sided singlesheet printed in black and blue, the other a 4-page listed, wire-stitched in light card wraps, "Dealers' Confidential Wholesale Price List"; 3 unused return envelopes printed in red.

      [Bookseller: Peter Harrington. ABA member]
 23.   Check availability:     AbeBooks     Link/Print  

        L'embarquement pour Cythère Élégie en cinq actes. Illustrations de Pierre Laprade.

      Paris, Jacques Beltrand 1929. - 4°. 150 S., 4 Bl. u. 60 Orig.-Farblithographien. Halbfranzband der Zeit über 4 Bünden mit goldgpr. Rückentitel u. Kopfgoldschnitt. Nummer 8 von 25 num. Exemplaren der Vorzugsausgabe mit Suite der Lithographien (GA 200); gedruckt für Jaques Beltrand. - Goldgpr. gekröntes Leder-Exlibris "Aleramo Spada Lavini", sehr gutes dekorativ gebundenes Exemplar. Halbfranzband der Zeit über 4 Bünden mit goldgpr. Rückentitel u. Kopfgoldschnitt. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Haufe & Lutz]
 24.   Check availability:     AbeBooks     Link/Print  

        Film: Gegner von Heute - Freunde von Morgen [Enemy of Film Today - Friend of Film Tomorrow] (First Edition)

      Berlin: Verlag Hermann Reckendorf G.M.B.H., 1929. First Edition. First Edition. Small quarto. A companion volume to Werner Graff's "Es Kommt der Neue Fotograf," an early and highly influential study of experimental film published to coincide with the 1929 Film und Foto exhibition in Stuttgart. Illustrated with numerous photographs, film stills, and film strips, with photographic reproductions by many of the important avant-garde `artists of the era, including Man Ray, Duchamp, Leger, and Richter himself. A fascinating book from several perspectives. Not only one of the first books to attempt to characterize early avant-garde filmmaking, but a lushly produced volume, with hundreds of stills from various early experimental films, speaking not only to concept but also to technique and method. The stills selected by Richter include not only strips and stills of the films discussed, but also rare images of candid on-set images of the filmmakers at work. Fine in an Near Fine, exceptionally sharp example of the scarce dust jacket, with only a bit of horizontal creasing on the jacket spine panel to note.

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

        Theophrast von Hohenheim gen. Paracelsus. Sämtliche Werke, 1. Abteilung. 14 Bände, Oldenbourg 1922-1933

      . 14 Bände und Dreingabe. Theophrast von Hohenheim, gen. Paracelsus. Sämtliche Werke. I. Abteilung, Medizinische, naturwissenschaftliche und philosophische Schriften. Hrsgg.v. Karl Sudhoff (und ab Bd. VI Wilhelm Matthießen). Bde. 1 (1929), 2 (1930), 3 (1930), 4 (1931), 5 (1931), 6 (1922), 7 (1923), 8 (1924), 9 (1925), 10 (1928), 11 (1928), 12 (1929), 13 (1931), 14 (1933). Dazu Bd. 1 der 2. Abteilung (Barth Vlg. 1923). 1-5 und 10-14 Oldenbourg Verlag, München e.a. / 6-9 beim OW Barth Verlag, München. 1922-1933. Je gr.8°, Halbschweinsledereinband, je ca. 400-500 Seiten, vereinzelt mit Tafeln. Blöcke partiell stockfleckig, Deckel vorne innen mit Exlibris, staubig, Einband lichtrandig und partiell fleckig, 10 mit Abschabung am Rücken, 12 mit Abschabung am Vorderdeckel, sonst guter Zustand..

      [Bookseller: Cassiodor Antiquariat]
 26.   Check availability:     ZVAB     Link/Print  

        Magyar Grafika. X. év 7-8. szám. Különszám: Reklameschau. [Hungarian Graphic. Year 10. No. 7-8. Special number: Reklam-schau.]

      Magyar Grafika (1929), Budapest - With numerous illustrations. First edition. Text in Hungarian and German. In original, illustrated wrappers. Cover designed by Sándor Bortnyik. (2), 173-224, XIII-XVIII p. Double number of the most important Hungarian typographical review. This issue is dealing with advertisement, and contains several modernist typographical examples. Cover designed by Sándor Bortnyik (1893-1976) the Hungarian painter and graphic artist. Member of Kassák's artistic circles. Exhibited his activist, cubist and constructivist works at MA's exhibitions in Budapest and in Berlin in the Galerie Der Sturm as well. In 1922 Bortnyik went to Weimar where he got connected with the Bauhaus. Worked as stage designer for the Hungarian Avant-garde theater, the "Zöld Szamár" (Green Donkey). Edited the Avant-garde periodical "Új Föld" (New Earth). In original, illustrated wrappers. Cover designed by Sándor Bortnyik First edition. Text in Hungarian and German. [Attributes: First Edition; Soft Cover]

      [Bookseller: Földvári Books]
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        Original Sketch Signed with initials, folio, Aug. 1929

      - Barbier has sketched a multicolored fantasy seascape with a soft toned mermaid at the center. Drawn on folio sheet with some show through of handwriting (in an unknown hand) on verso. The handwriting shows as soft arcs and fits in with the image. Signed in the middle of the drawing in small letters with date, "GB Aug. 1929." Matted in gray and framed in silver toned wood. Barbier is best known for his theater designs, ballet costumes, and particularly for his high fashion illustrations. He led a group of illustrators from the Beaux Arts School known for their flamboyance as much as their art. Barbier also created jewelry, glass and wallpaper design and worked with Erté to design sets and costumes for the Follies Bergére. He died at the height of his career. In 1929, Barbier was the costume designer for musical "The Street Singer." [Attributes: Signed Copy]

      [Bookseller: Schulson Autographs]
 28.   Check availability:     AbeBooks     Link/Print  

        SEVEN DIALS MYSTERY (First American Edition in the ORIGINAL Dustjacket)

      New York: Dodd, Mead & Company. Near Fine in Very Good dust jacket. 1929. Hardcover. Near fine condition in a very good ORIGINAL, extremely rare, orange, black & lime green dustjacket! Head of jacket spine lightly rubbed. There is a 2" chip on the upper rear panel of the jacket, a 1" closed tear at bottom of rear panel of the jacket and a 1/4" chip at top edge of the front panel of the jacket. None of these minor imperfections affect any text. Tips of the jacket are ever so slightly rubbed. Black lettered orange boards are bright with a very tiny pin hole in the front gutter. Edges & corners of boards are sharp. Orange stained top edges. Bottom and fore edges ever so slightly soiled. Orange decorated pastedowns and flyleaves have NO flaws. Images will be sent upon request. ; 8vo; vi, 310 pages .

      [Bookseller: Elliot's Books, Since 1957]
 29.   Check availability:     Biblio     Link/Print  

        Speedy Death

      London: Victor Gollancz Ltd,, 1929. Octavo. Original black cloth, spine lettered in red. With the dust jacket. Edges and endpapers foxed; an excellent copy in the slightly soiled jacket that has sunned spine, and a short closed tear to head of spine. First edition, first impression of the author's first novel. The publisher's retained copy with their stamp to the front panel of the dust jacket and the front pastedown.

      [Bookseller: Peter Harrington]
 30.   Check availability:     Biblio     Link/Print  

        Steichen the Photographer

      New York: Harcourt, Brace and Company,, 1929. Quarto. Original black cloth, gilt lettered spine and front cover. Portrait frontispiece of Steichen and 48 photogravure plates. A few marks to covers. A very good copy. First and limited edition, one of 925 numbered copies signed by Steichen and Sandburg. An important monograph, the first devoted to Steichen's work, and included in Roth's The Book of 101 Books: Seminal Photographic Books of the Twentieth Century: "Sandburg's folksy modesty is a bit at odds with the solemnity and sumptuousness of the book itself, which includes a broad and cleverly sequenced array of Steichen's work handsomely printed in warm sepia tones".

      [Bookseller: Peter Harrington]
 31.   Check availability:     Biblio     Link/Print  


      London, Hutchinson. [1929], 1929. First UK Edition. 8vo. 288pp. +16pp ads dated spring 1929. Publisher's dark red cloth titled in black to spine and front board, minor edgewear, clean and bright. Dusty edges. In a striking black, red and yellow dustwrapper, slightly soiled and scuffed, darkened to spine and with some gentle fraying to edges. Internally clean, neat ink ownership to flyleaf. A bizarre mystery in which a bedridden old gentleman is thrust into paroxysms of frenzy and commits atrocities in a wolf skin, written by a man chiefly remembered for creating a variant form of shorthand for reporters.

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

        Rose des vents EDITION ORIGINALE Grand papier ENVOI AUTOGRAPHE

      Paris: Au sans pareil, 1929. Fine. Au sans pareil, Paris 1929, 13x19,5cm, broché. - First edition, a 1000 numbered copies on Alfa paper alone draw with Japan 9 and 31 Holland paper. Amazing autograph dated and signed by the author "Laurent Tailhade A token of my admiration." Book illustrated with 4 drawings by Marc Chagall. Two tears stuck back in the top and bottom of a joint, back and slightly flat and marginally as generally insolated. - [FRENCH VERSION FOLLOWS] Edition originale, un des 1000 exemplaires numérotés sur alfa, seul tirage avec 9 Japon et 31 Hollande. Etonnant envoi autographe daté et signé de Philippe Soupault " A Laurent Tailhade en témoignage de mon admiration." Ouvrage illustré de 4 dessins de Marc Chagall. Deux déchirures recollées en tête et en pied d'un mors, dos et plats légèrement et marginalement insolés comme généralement.

      [Bookseller: Librairie Le Feu Follet]
 33.   Check availability:     Biblio     Link/Print  

        Études sur la neurogen?se de quelques vertébrés

      Madrid, 1929. Ramon y Cajal, Santiago (1852-1934). Études sur la neurogen?se de quelques vertébrés. xii, 393pp. Text illustrations. Madrid: n.p., 1929. 251 x 173 mm. Library buckram. Very good. First Edition in Book Form. ?[Cajal?s] work on the development of various nervous structures, published intermittently over a long period, was collected and translated into French as Études sur la neurogen?se de quelques vertébrés (1929)? (Dictionary of Scientific Biography). The 19 papers included here, originally published between 1890 and 1925, cover aspects of embryonic nerve cell development, neurogenesis of the cerebral cortex, development of retinal and sensory nerves, etc. Cajal updated several of the papers to include information on more recent developments. Cajal, Recollections of My Life (1937), p. 607.

      [Bookseller: Jeremy Norman's]
 34.   Check availability:     Biblio     Link/Print  

        Good-Bye To All That: an autobiography

      Cape, 1929. 1st edition. Hardcover. True first printing with the original Siegfried Sassoon poem, or verse letter, in full on pp 341-3, and the piece on page 290 which alludes to Sassoon's mother's attempts to communicate with the spirit of her dead son, Siegfried's younger brother Hamo. Outraged that he had not given permission for their inclusion, Sassoon insisted that these passages were immediately removed, and therefore asterisks appear in subsequent copies, and very few copies exist of this original issue. Graves and Sassoon were never friends again. The original salmon cloth boards are in fine condition, a minor bump at the heel of the spine, else entirely unmarked. The pages and endpapers are completely free of foxing. The original dustwrapper is not price-clipped, is in very good condition, with minor professional repairs at front fold and head of spine. In sum, an excellent example of Graves's classic memoir of the First World War. Included is a 1929 typed letter from noted New York bookdealer, James F. Drake, to a customer in which he says, 'I am sorry I cannot supply a copy of Good-bye to All That, first issue. As you probably know, the book was suppressed on account of the war poem by Sassoon, etc, and very, very few copies got into circulation. Unfortunately, I did not get any'. Also included are black-and-white photographic reproductions of (a) the first page, overlaid on the final page, of Sassoon's suppressed poem, in Graves's hand, which he says at the top is a copy 'in case I lost the original', dated 24.7.18, and (b) two pages, plus the title page, showing the annotations made by Edmund Blunden, with Sassoon's help, to a copy of Graves's book, pursuant to their irritation with their perceived inaccuracies and omissions in Graves's wartime account (they intended to send their annotated copy to the British Museum - but never actually did so). These reproductions come from Lew David Feldman's record of the sale of Sassoon items in 1975. In the printed edition of Good-Bye To All That, Graves omitted nine lines, including the final six, of Sassoon's poem.

      [Bookseller: Shellhouse Books]
 35.   Check availability:     Biblio     Link/Print  

        Jean de Jullienne et les graveurs de Watteau au XVIIIème siècle.

      - Notices et documents biographiques par J. Hérold et A. Vuaflart. 1929, 3 vol. de texte in-4 br. et 1 album in-4 de planches, en ff. sous cart. éd./I-Notices et documents biographiques. 289 p121 ill. II-Historique. 172 p32 ill. III-Catalogue. 152 pp. [Attributes: Soft Cover]

      [Bookseller: Chapitre livres et presse ancienne]
 36.   Check availability:     AbeBooks     Link/Print  

        A Farewell To Arms

      New York: Charles Scribner's Sons 1929 - First edition, first printing. Publisher's black cloth, gilt labels with black lettering to the front board and spine. About near fine, with some light rubbing to the extremities, bright spine with a slight lean, light rubbing to the board and the front title label, erased ownership inscription to the front pastedown, part of a bookseller's plate to the front free endpaper, otherwise bright and clean interior. Overall, a sturdy and attractive copy. Set in Italy during World War I, A Farewell to Arms tells the story of a romance between the protagonist Frederic Henry, an American serving as a lieutenant in the Italian ambulance corps, and Catherine Barkley, a British nurse tending to wounded soldiers. Widely considered one of the best novels to come from the war, the novel is, as the dust jacket proclaims, "the very essence of beauty as twisted and made tragic by war" that "expresses the innermost nature of war." Unlike many of the other war novels by contemporary writers, A Farwell to Arms addresses not only the aftermath of WWI but the events of the war itself and specifically the Italian Front around the Battle of Caporetto of Autumn 1917. Accordingly, it stood out amongst the war novels, becoming Hemingway's first best-seller and establishing him as a premier American writer. Interestingly, in his 1958 interview with The Paris Review, Hemingway famously remarked, "I rewrote the ending to Farewell to Arms, the last page of it, thirty-nine times before I was satisfied." [Attributes: First Edition; Hard Cover]

      [Bookseller: B & B Rare Books, Ltd., ABAA]
 37.   Check availability:     AbeBooks     Link/Print  

        Del teatro teatrale ossia del teatro con 200 riproduzioni di apparati e bozzetti scenici

      Edizioni Tiber, Roma 1929 - In 4, pp. 212 conÂill. n.t.ÂAll'occhietto bella dedica autogr. dell'A. a Carlo Belli (Rovereto, 1903 - Roma, 1991), pittore aderente all'Astrattismo, la cui opera piu' celebre e' Kn del 1935, apprezzatissimo dal collega astrattista Kandinskij. Belli fu sempre molto legato alla sua citta'. Diverse opere sono infatti esposte al Museo d'Arte Moderna e Contemporanea di Trento e Rovereto. T. tl. ed. Bragaglia espose le sue idee sul teatro in diversi saggi. In questo si sofferma sulla scenografia teatrale dalla Grecia alle macchine sceniche medievali, dalla scena elisabettiana al teatro all'italiana, dalla scena multipla sino alle Avanguardie storiche. ITA

      [Bookseller: coenobium libreria antiquaria]
 38.   Check availability:     IberLibro     Link/Print  

        Jack Pumpkinhead of Oz

      Chicago: The Reilly & Lee Co,, 1929. Octavo. Original grey cloth, colour pictorial image pasted down to front board, titles and decoration to spine in black, illustrated endpapers. With the dust jacket. Illustrated throughout in black and white by Frank Kramer. Spine gently rolled, corners and ends of spine rubbed, "book belongs to" page with tin man and title neatly water coloured in, pages mildly toned, mild soiling to rear cover, in the dust jacket with shallow chipping to corners, wear and short closed tears to extremities, closed tear at head of spine having been repaired with glue at verso. A very attractive copy. First edition, first printing.

      [Bookseller: Peter Harrington]
 39.   Check availability:     Biblio     Link/Print  

        Deux Mazurkas [nos. 1 and 6 from Mazurkas, 1er recueil]. For piano. Autograph musical manuscript signed in full

      [1929]. Folio (350 x 272 mm). 1 bifolium. 3, [i] (blank) pp. Notated in black ink on pre-printed 20-staff paper. Caption titles: "N 1." and "N 2. (Oberek)." Dedication to upper left corner of first page: "a Albert Roussel." Asterisk to title referring to autograph footnote: "Extraits du 'Recueil de Mazurkas (1918-1928)' "; autograph directive for engraver to left of footnote: "en sous-titre." Autograph directive for engraver to lower right corner of first page: "en bas: Avec l'autorisation des Editions Max Eschig, 48 rue de Rome, Paris." Autograph note to left margin of first page: "pour le Supplement de la 'Revue Musicale' (No contenant l'article de R. Petit sur A. Tansman)." Occasional autograph notational corrections in pencil to no. 2. Engraver's markup in pencil. Handstamp to upper right corner of first page: "Gravé." Annotation, "Revue musicale" in pencil to left of title in an unknown hand. Three horizontal creases; small ink stain to left margin and small rust mark to upper edge of first page; stain to final blank page. . Engraver's copy for the separate edition of these two mazurkas published as a supplement to Revue musicale 10, issue 4-5 (1929), in which R. Petit published his article "Alexandre Tansman" (op. cit., pp. 46–54). The entire "Recueil de Mazurkas (1918-1928)," later counted as "1er recueil" (three more followed), was published by Max Eschig, Paris, in 1929. The present mazurka no. 1 is counted "no. 6" in the entire collection; the present no. 2 (Oberek) is counted "no. 1." "Alexandre Tansman was a French composer and pianist of Polish birth... Disappointed with his reception in Poland, he moved to Paris, giving a début recital in February 1920. Soon after his arrival, he became friendly with Stravinsky and Ravel, both of whom encouraged and advised him... Acquainted with many leading musical figures in Paris during these years, Tansman was part of the circle of foreign musicians, known as the Ecole de Paris, that included Martin , Alexander Tcherepnin, Conrad Beck and Marcel Mihalovici. While his music retained many distinctively Polish features, such as Mazurka rhythms and Polish folk melodies, and while he wrote collections of Polonaises, Nocturnes, Impromptus, Waltzes and other Chopinesque miniatures, neo-classical traits appear in works [from about 1925]... Although he never completely abandoned a diatonic framework, critics of the 1920s and 30s described his harmony at times as Scriabinesque and atonal... Tansman was quick to achieve international success... He settled in Los Angeles in 1941 where he became acquainted with Schoenberg, renewed friendships with other European émigrés, including Milhaud and Stravinsky, and composed a number of film scores. He returned to Paris in 1946." Caroline Rae in Grove M.O.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
 40.   Check availability:     IOBABooks     Link/Print  


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