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Displayed below are some selected recent viaLibri matches for books published in 1930

        Blythburgh Priory

      Blythburgh, 1930-1955. Archive of female artist and illustrator Margaret Julia Maria Grubbe (1911-1997), who comes from a long line of famous Suffolk artists and painters, comprising her manuscript drawings, watercolours, and oil paintings, including a journal made whilst in Scotland, letters and critiques from the Royal Drawing Society as she learned and perfected her own unique style, and an exhibitor card from the Ipswich Art Club. Together with several photographs from her childhood and college years, an important photograph of her father, and a scant few personal papers including a lease document for part of the Priory at Blythburgh dated 1936, where she lived and exhibited, at the time being owned by her widowed mother. Margaret Julia Maria Grubbe (1911-1997), is an artist and a book illustrator listed on the Sufflok Painters Index, and was born into a prominent London family of artists. She inherited The Priory at Blythburgh in Suffolk, from where she also exhibited. Miss Grubbe's archive illustrates her progression as an artist, from her earliest submissions to a drawing society, to the skilled development of her unique style. The earliest pencil sketches are inherently reminiscent of the style of her father, Laurence Carrington Grubbe (1854-1912), who died the year after her birth, but whose works must have surrounded her and provided a visual influence. These are followed by a display youthful whimsy and experimentation with bright colour, which in later years, resulted in the skilled creation of elegant and tasteful impressionist scenes largely capturing the essence of life in England. The archive includes the following: A selection of drawings and paintings by Miss Margaret Grubbe, circa 1930-1955. Ranging in size, media, and other attributes, some are made on Whatman's quality water sketching board. Nicknamed Peggy, she sometimes signed her works P. Grubbe. Her pencil sketches are mostly of people while her watercolours render nautical scenes, English landscapes, and garden flowers including a beautiful cymbidium (orchid). It appears that at least one of these works was mounted and exhibited [Spring Flowers, made in 1951]. These range in size from approximately 7x7 cm to 28 x 39 cm. One sketch book of drawings and watercolours made 1945-1946 whilst touring Scotland, containing no less than 28 manuscript pencil drawings, 10 of which are painted in watercolour. Scenes that are inscribed and dated include Loch Linnhe in Argyllshire, Britain's highest mountain Ben Nevis, the Achintee Farm at the foot of it, the mountain and mill at Oban, Cowhill in Whitburn, and Inverlochy Castle in the Highlands. 8vo. Windsor & Newton sketch book measuring 18 x 12,5 cm, coloured leafs. Very good condition. A large journal issued to Miss Grubbe 23 January 1930 by the Royal Drawing Society and containing approximately 32 tipped-in specimens of ink drawings and pencil sketches, and 4 watercolours - for critique and review. An instructional pocket mounted to front pastedown contains children's certificates and papers from the society, as early as 1922. Six typed letters from the Society are mounted to front leaf. Oblong quarto measuring approximately 26,5 x 34 cm, printed red cloth boards. [Founded in 1888, the Royal Drawing Society promoted the teaching of drawing in schools, even at very young ages, based on the theory that owing to astute perception and retentive memory, children attempt to draw before they write]. Over 40 original photographs, featuring a rare snapshot image of her father standing with brush and palette, putting the finishing touches on his most famous painting, "Little Red Riding Hood" which he made two years before her birth. The remainder are childhood photographs, Miss Grubbe in college, so forth. Manuscript draft lease agreement for a cottage and gardens situated just round the bend from the Priory at Blythburgh, dated 15 July 1936, letting to Bertie James Bird of Blythburgh. Margaret Julia Maria Grubbe (1911-1997), is an artist and a book illustrator listed on the Sufflok Painters Index, and was born into a prominent London family of artists. In 1950 she exhibited from The Priory, Blythburgh, Suffolk, two watercolours 'Study of Irises' and 'Spring Flowers', in 1951 her 'Colours of Autumn', and two works in 1952 - 'Winter Study' and 'Chrysanthemums.' She was an associate member of the Ipswich Art Club from 1949 to 1962. She married late in life at Blyth, Suffolk in 1975, Kenneth Gilbert Hubbard (1920-2004) and she died in Waveney, Suffolk in January 1997. Her portrait, playing the violin, was painted in 1940 by renowned painter Sydney Seymour Lucas who was also her uncle. The artist is the daughter, and only child, of respected painter Laurence Carrington Grubbe (1854-1912) of Suffolk, whose sitters included several prominent local diplomats. Her mother is Marie Ellen Seymour Grubbe (1879-1951), née Lucas and nicknamed "Poppets", who was described as a miniaturist in the art community, and whose family was replete with renowned artists. Margaret's maternal grandfather is the esteemed artist John Seymour Lucas, R.A. (1849-1923), a Victorian English historical and portrait painter, as well as an accomplished theatrical costume designer, distinguished antiquary and collector of architectural artefacts. He owned and remodelled The Blythburgh Priory in the then emerging style and influence of the Arts and Crafts Movement which flourished in England between 1880 and 1910. [He was the nephew of portrait painter John Lucas 1807-1874]. Her maternal grandmother was also a painter, known for historical works, genre scenes, and domestic scenes with children, Marie Seymour Lucas, née Cornelissen (1850-1921), wife of John Seymour Lucas, R.A. Illustrator and portrait painter Sydney Charles Seymour Lucas (1878-1954) was her uncle (son of artist John Seymour Lucas, R.A.). Margaret inherited 'The Priory' of Blythburgh from her mother in 1951, who had purchased it from her nephew Arthur Henry Seymour Lucas in 1939. In his will, John Seymour Lucas had given Marie Ellen "The Priory" for life, with reversion to Arthur Henry Seymour Lucas (born 1908).

      [Bookseller: Voyager Press Rare Books & Manuscripts]
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        Watercolours and Manuscript Drawings by German Theatre Set Designer - Hans Siegert

      Innsbruck, Munich, 1933-1976. Archive of 34 watercolours, manuscript sketch drawings and photographs pertaining to theatre sets designed from 1933-1944 by the highly respected German set director at Tiroler Landestheater Innsbruck - Hans Siegert. Together with 35 original typescript articles published by him in German film magazines from 1955-1976 after he had become a film producer. All text is in German. Hans Siegert (1910-1983) was a set designer and film director. He studied with German illustrator and print maker Emil Preetorius. Siegert is especially remembered for his excellent stage designs created for the Innsbruck theater from 1938 to 1944 when he was Set Director. Several of these are represented here in his original artwork, and in additional photographs of his artwork. Together with his wife, Irma; he also painted cinema posters and giant outdoor advertising for movie theaters. Around 1955, he became a film director. He was involved in numerous film productions, and earned several awards. Hans and his wife Irma were both from Munich. [At the time of Siegert drawings and watercolours, the theatre was called the Royal Bavarian Court National Theatre. In 1945, it was renamed the Tiroler Landestheater (Tyrolean State Theatre).] The archive includes the following: Hans Siegert's large portfolio briefcase containing thirty-four (34) original watercolour paintings on paper, each illustrating a specific theatre set or backdrop designed by him, and 1 collage of watercolour and print material. Each mounted to a paper border, several of which are signed in the original by the artist, several also captioned, and measuring approximately 50 x 35 cm, one being smaller in size. Pin holes to corners suggest that several of these were mounted to Siegert's office walls. The black leather portfolio measures 51 x 37 cm. An art book profusely utilized in 1933, each page abounding with lively pencil sketches, ink drawings, watercolour scenes, poster art templates, manuscript notes, and a scant few photographs and newspaper clippings incorporated into some manuscript drawings. A fascinating volume, these pages illustrate the busy and sedulous mind of an artistic creator, planning various ethnic costume, theatre and film characters, and elaborate sets relating to specific theatrical plays. Replete with scratch notes and doodles, we find a dramatic watercolour depiction of South Tyrolean film producer and actor Luis Trenker, and pencil sketches of the Sahara Palace Hotel in Marrakech, Morocco. 8vo. 92 pages of illustrations. Album of photographs, featuring two (2) original photographs of Hans Siegert diligently planning and designing sets and props, fifty-two (52) photographs of paintings he made for the theatrical sets designed for performances the Innsbruck theatre from 1938-1944, each of the latter captioned and dated in typescript, and eight (8) miniature photographs of prepared stages. Photographs measure between 17 x 12 cm and 3,5 x 2 cm (most measuring approximately 12 x 8 cm). Green coil album from the 1970s. 35 original typescript articles published by Hans Siegert in two Munich based magazines from 1955 to 1976, "Der Film Kreis" [The Film Circle] and Film und Ton Magazine [Film and Sound Magazine]. 8vo. Contained in the covers of a 1955 issue of Der Film Kreis. Autobiographical entertaining screenplay script for a short film titled "Der Dichter und die Bastlerin," the characters being Hans Siegert himself as a film producer, his wife Irma as herself, and a studio owner. 8vo. 19 pages typed and dated 1974 in manuscript to last leaf, contained in string-tied in boards titled and illustrated to front. A succinct biographical sketch of Siegert's career, and then recent shift from theatre to film, being an article clipped from the March 1956 issue of "Jazz Podium" - a German magazine founded in Vienna in 1952. Excerpt from the article: "Aufgrund dieser vielen filme und Auszeichnungen wurde Hans Siegert sehr bald mit Auftràgen für Lehr-,Werbe- und Dokumentarfilme verschiedenster Art betraut." [Based on his many movies and awards, Hans Siegert was readily entrusted with lectures, advertising and documentaries of various kinds.] Illustrating his tireless endeavours and spectacular projects at the Innsbruck theatre, in 1944 alone, Siegert designed sets and backdrops for the following performances: Friedrich Schiller's bourgeois tragedy "Trauerspiel Kabale" [Intrigue and Love], reported by Heinz Cornel Piper on January 17, 1944, as having scenery by Hans Siegert which possessed in itself a magical effect. A performance by Gisa Ott for which Siegert's backdrops have been described as evocative and artistic, creating a special emphasis. For "Hamlet" Siegert skillfully presented the essence of tragedy through simplified, artistic, tasteful decorations amidst an open, darkened scene. For Isa Roland and Gustl Pretsch as old pastoral couple, Hans Ulrich Bach, and others as Grand Duke and Postilion, he created a most lively stage, especially for the Sesenheimer songs by Goethe. A unique office setting design for the dynamic comedic act "Lisa benimm Dich!" [Lisa behave yourself!]

      [Bookseller: Voyager Press Rare Books & Manuscripts]
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        HAVETH CHILDERS EVERYWHERE. Fragment from Work in progress.

      FIRST EDITION. Folio in fours. (11.2 x 7.6 inches). ONE OF 100 COPIES printed on imperial handmade iridescent Japan paper, numbered with a stamp and then signed by Joyce under the limitation notice (in pencil, as the paper would not take ink), from a total edition of 685 copies. This copy is number 47 of this, the most luxurious issue, originally priced at $40 when published: The edition was completed by 500 copies printed on handmade linen, priced at $20; and another 10 copies printed on imperial handmade iridescent Japan paper and 75 on handmade linen, these latter two issues were designated writer's copies and numbered in roman numerals. Untrimmed and partly unopened in original white paper covers printed in black and green to the spine and front panel, and in the original glassine wrapper. Enclosed in the original folding card wrapper covered with gilt paper and in the original green paper-covered slipcase with gilt edges and facings and now housed in a quarter green morocco cloth solander box with marbled paper on boards. Spine with raised bands. Gilt lettering and ruling. The book is fine throughout but the protective board and slipcase have some rubbing to the edges and corners.Copies were generally issued in paper covers, with a glassine wrapper. Some copies of the special issues were additionally enclosed, as is this copy, in a three-panel card wrapper covered with gilt paper, and housed in a publishers green paper covered slipcase with gilt edges. The entire construct is relatively delicate and especially liable to chip. Calhoon, (no.41.) notes that there is an account of the publication of this book in Jack Kahane's Memoirs of a Booklegger, published in London in 1939.

      [Bookseller: Paul Foster Books]
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        My Early Life

      London: Thornton Butterworth Limited, 1930. First edition, first printing. Hardcover. This is an unusually clean and bright copy of the first edition, first printing, of Churchill?s extremely popular autobiography. My Early Life covers the years from his birth in 1874 to his first few years in Parliament. One can hardly ask for more adventurous content. These were momentous and formative years for Churchill, including his time as a war correspondent and cavalry officer in theatres as varied as Cuba, northwest India, and sub-Saharan and southern Africa. This time contained a wide range of experiences in Churchill?s life. Not only was he developing as an author, publishing his first books, and making his first lecture tour of North America, but this was also the time of his capture and daring escape during the Boer War, which made him a celebrity and helped launch his political career. Churchill would take his seat in Parliament only weeks after the end of Queen Victoria's reign. My Early Life remains one of the most popular and widely read of all Churchill's books. And for good reason, as the work certainly ranks among the most charming and accessible of his many books. An original 1930 review likened it to a "beaker of Champagne." That effervescent charm endures; a more recent writer called it "a racy, humorous, self-deprecating classic of autobiography." To be sure, Churchill takes some liberties with facts and perhaps unduly lightens or over-simplifies certain events, but this is eminently forgivable and in keeping with the wit, pace, and engaging style that characterizes the book. My Early Life sold very well at the time and has seen a great many editions since, many of them collectible in their own right, but of course a premium attaches to first editions. The challenge for collectors is that the plum colored binding of this edition proved especially susceptible to fading, soiling, and wear; nearly all copies are considerably spine faded. Moreover, the contents are susceptible to heavy spotting and the binding is often cocked. This helps explain why so many first editions of this book have been torn apart and rebound. This copy approaches near fine. The coarse cloth is square and tight with nicely rounded spine, sharp corners, bright gilt, and only trivial wear to extremities. The spine is sunned, as is inevitable, but far less so than we typically see, retaining some of the original plum color and bright gilt, and with clean presentation, marred only by a single, tiny black blemish above the author?s name. The contents are likewise unusually clean and bright. Light spotting is almost entirely confined to the page edges, with just a hint of spotting to the endpapers and prelims. The endpapers show a very faint indication of differential toning corresponding to dust jacket flaps, hinting that this copy may have long been jacketed, which would explain the superior condition of the binding. The sole previous ownership mark we find is a tiny Birmingham bookseller sticker affixed to the lower rear pastedown. The page edges are very lightly spotted and mildly age-toned, but otherwise clean. First edition, first printing is confirmed by the title page verso. Second state of the first printing is confirmed by the inclusion of the 1911-1914 volume of The World Crisis on the half title verso list of works by the author. The binding is protected with a removable, clear mylar protector and housed in a stout grey cloth slipcase with rounded and leather-trimmed caps at the opening. Bibliographic reference: Cohen A91.1.c, Woods/ICS A37(aa), Langworth p.131.

      [Bookseller: Churchill Book Collector]
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        My Early Life Together with: Thoughts and Adventures

      London: Thornton Butterworth, 1930 and 1932.. FIRST EDITIONS, octavo. Bound in publisher's pink and green cloth respectively, both with gilt titles to spines and upper cover, uniformly stamped in blind. Naval bookplate to first volume, discreet ink inscription to pastedown, some edge-toning, bindings a little rubbed. Very good indeed, housed in a fleece-lined cloth slipcase. These two volumes represent Churchill's only autobiographical works.

      [Bookseller: Adrian Harrington Rare Books]
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        The Savoy Cocktail Book

      London: Constable & Company, Ltd., , 1930 . Being in the main a complete compendium of the cocktails, Rickeys, Daisies, Slings, Shrubs, Smashes, Fizzes, Juleps, Cobblers, Fixes, and other drinks, known and vastly appreciated in this year of grace 1930, with sundry notes of amusement and interest concerning them, together with subtle observations upon wines and their special occasions. Being in the particular an elucidation of the Manners and Customs of people of quality in a period of some equality. Octavo. Original metallic boards, front board decorated in green, black, and grey, black cloth spine lettered in gilt, pictorial endpapers. Frontispiece with tissue-guard, and coloured illustrations by Gilbert Rumbold throughout. Adelaide bookseller's ticket to front pastedown. Rubbing to the extremities, the silver boards rubbed and scratched but considerably less so than is usually encountered, spine a little dulled with some glue residue to joints, some very light spotting internally but on the whole clean, a sound and smart copy in very good condition. First edition, first impression, with the paginated prelims, and tipped-in Barcadi cocktail slip to p. 25. It features 750 of the most popular recipes from the legendary American barman Harry Craddock, together with elegant art-deco illustrations, and anecdotes behind the cocktails. This copy has two pages of contemporary cocktail recipes in manuscript to the rear, some dated and with attributions to the inventors.

      [Bookseller: Peter Harrington]
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        "Couple de cavaliers".

      1930Gouache et encre de Chine, rehauts d'or, (1930), sur papier collé sur calque, 31.5 x 16.7 cm., encadrée. L'artiste représente un couple de cavaliers sur fond d'or, elle pied à terre, lui à cheval. Les vêtements, dans les tons rouge et or, se détachent de manière graphique. Le mois de "novembre" est inscrit à la main dans la marge droite, ainsi qu'un essai de lavis. Léon BENIGNI (1892-1948) a illustré Alfred de MUSSET (Bénézit, I, 624-25). Il travaille surtout pour la presse de mode en France et à l'étranger ; il participe aux revues Vogue, Frou-Frou, Fantasio, Femina, Modes et Travaux, L'Officiel, Art-Goût-Beauté, Art et Industrie... (France) ; Harper's Bazaar (Angleterre) ; Die Dame et Elegante Welt (Allemagne) ; La Donna (Italie) (Dico Solo, 67). Il réalise des publicités pour les marques suivantes : Rouge Baiser, RIVAL (rouge à lèvres), Mauboussin, le paquebot L'Atlantique, Frigeco, les fourrures Brunswick, les grands magasins (La Samaritaine, Le Bon Marché, La Grande Maison de Blanc, Le Louvre, Le Printemps), Ford... ; les couturiers HERMES, Jeanne LANVIN, Jacques FATH, WORTH, Jean PATOU, SCHIAPARELLI, ROCHAS, Paul POIRET, Pierre IMANS... ; il réalise des modèles pour les tissus Koechlin, les filatures Prouvost et la maison Clark's (Pages d'Or de l'édition publicitaire, p. 255).

      [Bookseller: Librairie Chrétien]
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        The Savoy Cocktail Book

      New York: Richard R. Smith Inc, 1930. First American Edition, First Printing. Very good in original decorated boards, quarter-bound in black cloth, boards and corners worn and rubbed, pages foxed throughout, and binding somewhat loose but holding. Still a lovely, attractive volume despite its condition. Recipes compiled of Harry Craddock of the Savoy Hotel, London.. Duodecimo. 13 x 19.5 cm. 287 pp. Illustrated throughout with decorations by Gilbert Rumbold.

      [Bookseller: Captain's Bookshelf, Inc., ABAA]
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        Oformlenie sovetskikh karnavalov i demonstratsii

      1930. ZEMENKOV, B. Oformlenie sovetskikh karnavalov i demonstratsii. metodicheskoe posobie dlia izo-kruzhkov goroda i derevni. 94pp. Illustrated. Publisher's illustrated Wrappers. Moscow: Khud. Izd. Akts O-VO Akhr, 1930. |~||~||~||~| A very fine copy of this scarce survey of street theatre and demonstrations under the Soviets. OCLC lists 5 copies.

      [Bookseller: Ursus Rare Books]
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        4 autograph letters and 2 (1 autogr. and 1 typed) postcards, all signed. Neuilly-sur-Seine and n. p., 1930 to 1976.

      1930. Large 4to and 8vo. Altogether 6 pp. on 6 ff. Together with 2 typed letters by Labisse (carbon copies) and 2 letters of response. To the Belgian author, filmmaker and documentarist Henri Storck. The first letter dates from the beginning of their friendship; in it, Labisse argues vehemently against becoming involved in politics: "Occupons nous essentiellement d'art et de littérature. Bougre de nom de Dieu!, nous ne sommes bon qu'à cela. C'est déjà quelque chose, il y a tant qui y sont étrangers. Je ne condescendrai jamais à jeter le plus infime regard sur les [illegible] de la société, laissons les laver leur linge sale en famille ; que m'importe les régiments, ils se valent tous, ils sont tous aussi mauvais. Henri, nous ne pouvons nous occuper de tout. Laissons les politiciens s'arracher les yeux pour avoir le pouvoir [...]" (17. V. 1930). - In one letter, Labisse asks his friend to take pictures of the paintings in his possession for an illustrated catalogue of his work: "j'aimerais que tu me fasse parvenir 2 photographies de chaque tableau de moi que tu possèdes. 'Le baptême de l'air'. 'Le démythifieur'. Et si possible celles du portrait que j'ai fait de ta sœur Janot [...]" (18. X. 1976). - One month later, he has obviously gotten some of the pictures as well as some other documents, reminding him of their youth: "Merci pour les documents, souvenir de notre puberté. Tu dois en avoir une ou deux avec James Ensor sur la plage - pendant le tournage d'un de tes films - mais je ne me souviens plus [...] du film. Au sujet des négatifs noirs et blancs, les tableaux photographiés pour [illegible], je te remercie, cela sera très utile. Voilà ceux qui me manquent : Document I: Bonjour Marie; [...] L'infallibilité; [...] Découverte de l'amérique [...]; Document II: Le combat singulier; [...]. Fais les moi parvenir quand tu pourras [...]" (22. XI. 1976). - In 1977, on the occasion of Stock's 70th birthday, Labisse honors his fried by a long letter (or was it a speech?) about the latter's accomplishments: "Nous nous sommes connus en 1926. Tu étais alors un garçon un peu austère et un tantinet dogmatique. Malgré nos caractères assez différents il s'établit très vite entre nous une amitié complice, et, avec l'impétuosité de la jeunesse nous fonçâmes allégrement dans le ventre mou des Arts. Ostende, à cette époque, était une ville extraordinaire [...] En 1927, aventure mirobolante ... Tu inventes le CLUB DU CINÉMA d'OSTENDE, un des premiers du genre. J'en suis nommé pompeusement le Secrétaire Général. [...] Et puis, en 1929, ce fut LA MORT DE VENUS, ton premier court métrage de fiction, tourné sur la plage avec une ravissante autrichienne, un colonel en retraite et moi-même. Hélas, il ne reste que quelques rarissimes photographies de cette œuvre historique malheureusement perdue. Je cesserai maintenant d'égrener ces quelques souvenirs très anciens. Les nombreux films que tu as réalisés depuis sont tous ici 'en chair et en os' illustrant magnifiquement ton soixante dixième anniversaire et tes cinquante ans de cinéma. [...]" (7. V. 1977). - James Ensor (1860-1949) was a Belgian painter and printmaker.

      [Bookseller: Antiquariat Inlibris]
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        Moby Dick or The Whale

      New York: Random House,, 1930. Illustrated by Rockwell Kent. Octavo. Finely bound by the Chelsea Bindery in full black morocco, lettered and decorated in silver after the original Rockwell Kent designed binding, pictorial block of a whale to the spine, black and white patterned endpapers, all edges silver. Illustrated by Rockwell Kent with woodcuts throughout the text, with full-page plates, chapter head and tailpieces, other smaller cuts in the text. A fine copy. First Rockwell Kent trade edition, first printing.

      [Bookseller: Peter Harrington]
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        "La ruse, épisode dans la vie de Cendrillon".

      1930 1.Manuscrit traduit de l'anglais par Clarri Sargint et dédié à Ronald Kilner, in-8, (1930), orné de 8 aquarelles originales et de 6 dessins à la mine de plomb, broché, couverture toilée beige. Conte charmant et léger, voir coquin, poursuivant les aventures de Cendrillon après son mariage. Ces aquarelles sur calque contrecollées dans ce carnet à dessins et faisant face au texte manuscrit peuvent être attribuable à Clara TICE (voir son livre illustré de Benjamin Franklin: "Advice on mariage" et publié à Brooklyn par Harry Cunningham en 1925). Petits plis, trous d'épingle, légères taches.

      [Bookseller: Librairie Chrétien]
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        Sisifo procuste & c. Miti e moralita' moderni

      Fratelli Buratti editori, 1930. In 8, pp. 212 + (8) con 1 litografia originale f. t. di Felice Casorati. Br. ed. Tiratura di 10 esemplari su carta a mano in 8, contenente una litografia originale di Felice Casorati contrassegnati con le lettere dell'alfabeto dalla A alla L (ns. es. L). furono stampati anche 40 es. in 16, in carta manomacchina numerati da 1 a 40 e 900 es. in 16 su carta vergata. Rarissimo es. in tiratura di testa impreziosito dalla particolare litografia di F. Casorati, uno dei pochi volumi illustrati editi da questa raffinata casa editrice (prima Ribet poi Buratti) che nonostante la breve vita (duro' dal 1928 al 1931) realizzo' un catalogo di circa 70 titoli composto da importanti edizioni originali del 900' italiano quali Sbarbaro, Montale, Linati, Pavolini ecc. Di grande interesse la litografia, una delle poche realizzate in questi anni e mancante al catalogo dell'opera grafica di Casorati a cura di Luigi Carluccio. ITA

      [Bookseller: Libreria Antiquaria Coenobium]
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        Haveth Childers Everywhere Fragment from Work in Progress.

      Paris Henry Babou and Jack Kahane 1930 - First Edition James Joyce Haveth Childers Everywhere JOYCE, James. Haveth Childers Everywhere. Fragment from Work in Progress. Paris: Henry Babou and Jack Kahane, 1930. First edition, one of 500 copies on handmade Vidalon Royal paper, of which this is number 218. Small folio. Original wrappers printed in black and green, glassine and publisher's green and gold slipcase. Pages unopened. Tiny chip to bottom of spine, some wear and short splits to slipcase edges. Otherwise, fine. Slocum and Cahoon A41. HBS 66327. $1,000 [Attributes: First Edition; Soft Cover]

      [Bookseller: Heritage Book Shop, ABAA]
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      1 . Hardcover. Very Good. Illus. 1st ed. NY (Farrar & Rinehart) 1930. Pictorial boards. Light foxing of title-page else a fine copy in dust wrapper - latter chipped but repaired.

      [Bookseller: ATGBooks]
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        [Binding, Fine- De Sauty] N by E

      New York: Brewer & Warren, 1930. First edition. Special fine binding designed by Alfred de Sauty at the Lakeside Press and finished by A. W. Anson. Superb full black crushed morocco with Art Deco gilt design on both covers, N, S. E. W. in relief and with red onlays, gilt dentelles, gold-highlighted endsheet and free endpages. AEG. A wonderful production, importantly, with a "This Book" leaf at end with gilt printed borders with the following written by hand in fine script: was sewn by E. Dvorak/" forwarded " H. Tribolet/ " finished by H. W. Anson/ " designed " A de Sauty. Decr MCMXXX [signed] Alfred de Sauty. Superb whole and half-page woodblock illustrations throughout by Rockwell Kent. A wonderful production. Fine. Most scarce thus.

      [Bookseller: Nudelman Rare Books]
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        Seeds of Murder

      New York: Doubleday Doran and Company / The Crime Club, 1930. First Edition. Hardcover. Very Good. First edition. (As stated on copyright page.) 302 p. Black cloth with red lettering. About Very Good in Very Good+ supplied dust jacket. Light wear. Some bookplate remnants on rear paste down, Forbes Bookshop stamp on front endpapers. Jacket spine panel a bit darkened, some scuffs and edge wear. The author's first book.

      [Bookseller: Burnside Rare Books]
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        LA CORSE PLM

      Date : 1930 Dmensions : 63x100cm Imp : L. Serre & Cie, Paris Condition : entoilée A Affiche originale entoilée en parfait état.

      [Bookseller: Philippe Beguin livres anciens affiches ]
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        Le Cantique de Salomon, Enluminé par Zeev Raban.

      Jérusalem, "The songs of songs" publishing co, 1930. In- folio en percaline rouge décorée au centre du plat d'oiseaux d'argent et d'arabesques dorées formant un médaillon et roulette dorée en encadrement. Sans pagination, (54 pp). Edition bilingue avec le texte en français, encadré d'enluminures en noir et blanc, avec en regard le texte en hébreu enluminé en couleurs sur du papier contrecollé, toutes avec une serpente illustrée. Quelques serpentes ont été pliées. Légers frottements au niveau des mors et des coins.

      [Bookseller: Librairie Lang]
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        4 ms. Briefe mit eigenh. U. Berlin, 1930.

      1930. Zusammen 5½ SS. auf 4 Bll. 4to. An den namentlich nicht genannten Musikhistoriker Otto Erich Deutsch betreffs biographischer Daten zur Beziehung zwischen Michail Bakunin und Ferdinand Kürnberger bzw. Detailfragen zur Geschichte des Sozialismus bzw. Anarchismus: "Tengoborski, Ludw. (1793-1857) war ein russischer Ekonomist [!] und Staatsmann. Als ökonomischer Experte und Beirat hat er in den 1830 und 1840-ger Jahren verschiedene Aufträge im Dienste der russischen Diplomatie versehen. Er hat viele Bücher und Artikel in deutscher und französischer Sprache verfasst, in denen er die ökonomische Politik des Zarismus verteidigt. Er ist speziell einige Mal gegen die Polen-Unabhängigkeit auftgetreten. Im Jahre 1848 wurde er als [!] Mitglied des russischen Staats-Rats ernannt [...]" (Br. v. 3. III. 1930). - Der sozialistische Schriftsteller und Historiker Nikolajewski veröffentlichte u. a. eine biographische Darstellung von Jenny Marx (1931; vgl. Emig A1159) sowie gemeinsam mit Otto Maenchen-Helfen eine Biographie über Karl Marx (vgl. ebd. A1276). - O. E. Deutsch (1883-1967), ehedem Kunstkritiker der Wiener Tageszeitung 'Die Zeit' und Assistent am Kunsthistorischen Institut der Universität Wien, erwarb nach der Rückkehr aus dem Ersten Weltkrieg eine Buchhandlung, gliederte ihr einen Verlag an und war seit Mitte der zwanziger Jahre als Privatgelehrter und als Bibliothekar der Musiksammlung Anthony van Hoboken in Wien tätig. 1938 nach Großbritannien emigriert, gab er den 'British Union Catalogue of music published before 1800' heraus, erwarb die britische Staatsbürgerschaft und war als Gelehrter und Dozent in Cambridge sowie am British Council tätig. Nach Österreich zurückgekehrt, wurde er Mitglied des Zentralinstituts für Mozartforschung am Salzburger Mozarteum, dessen Vorsitz er 1962-65 gemeinsam mit Bernhard Paumgartner und Alfred Orel innehatte. Deutschs Bedeutung "liegt vor allem in seinen dokumentarischen Arbeiten zu Franz Schubert" (DBE). 1907 gab Deutsch 'Ferdinand Kürnbergers Briefe an eine Freundin (1859-1879)' heraus, 1910-14 die 'Gesammelten Werke', 1912 'Die Deutsche Schiller-Stiftung. Aufsätze. Literaturberichte und Gutachten von Ferdinand Kürnberger', 1919 die Briefe an Heinrich Laube und 1926 'Drei Erzählungen'. Vgl. auch Czeike II, 20f. - Auf Briefpapier mit gedr. Briefkopf; gelegentlich mit einigen eh. Ergänzungen bzw. Korrekturen.

      [Bookseller: Antiquariat Inlibris]
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        Der Mythus des 20. Jahrhunderts. München, Hoheneichen-Verlag, 1930.

      1930. 670 SS. Originalleinenband. 8vo. Erste Ausgabe. Am fliegenden Vorsatz vom Verfasser mit vollem Namenszug eigenhändig signiert.

      [Bookseller: Antiquariat Inlibris]
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        Modern Nymphs: Being A Series of Fourteen Fashion Plates With an Introductory Essay on Clothes by Raymond Mortimer

      London: Frederick Etchells & Hugh Macdonald, 1930. First edition, number 96 of 150 numbered copies, with fourteen Art Deco fashion plates inspired by the Greek myths and hand-colored in pochoir. Thomas Lowinsky's surreal illustrations include "Circe and Cocktails Prepared for the Fleet," "Danae Waiting for the Weather Report on the Wireless," "Helen Turns Modiste to Retrieve Her Fallen Fortunes," and "Clyte Abandons the Old Sun for the New" (an early depiction of indoor tanning). With an introductory essay on modern clothes by art critic Raymond Mortimer, member of the Bloomsbury group and later literary editor of The New Statesman: "our feeling for the stream-line seems an indestructible part of the civilisation in which we live. We insist on it in motor-cars, we are beginning to prefer it in architecture and we are unlikely to lose our taste for it in women." A near-fine copy. Tall slim folio, original brown cloth gilt over patterned paper boards, text block uncut. Printed by the Westminster Press on Batchelors Kelmscott Paper for The Haslewood Books. Without original glassine. Boards toned at edges, light stain to front board.

      [Bookseller: Honey & Wax Booksellers]
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        "La Diligence".

      Encre de Chine et rehauts de blanc, sur papier cartonné, 26 x 17 cm, joint la gravure en noir, sur papier cartonné souple, (1930), 13 x 21 cm. On retrouve dans cette gravure toute l'influence du XVIIIe français sur l'Art Déco.Léon BENIGNI (1892-1948) a illustré Alfred de MUSSET (Bénézit, I, 624-25). Il travaille surtout pour la presse de mode en France et à l'étranger ; il participe aux revues Vogue, Frou-Frou, Fantasio, Femina, Modes et Travaux, L'Officiel, Art-Goût-Beauté, Art et Industrie... (France) ; Harper's Bazaar (Angleterre) ; Die Dame et Elegante Welt (Allemagne) ; La Donna (Italie) (Dico Solo, 67). Il réalise des publicités pour les marques suivantes : Rouge Baiser, RIVAL (rouge à lèvres), Mauboussin, le paquebot L'Atlantique, Frigeco, les fourrures Brunswick, les grands magasins (La Samaritaine, Le Bon Marché, La Grande Maison de Blanc, Le Louvre, Le Printemps), Ford... ; les couturiers HERMES, Jeanne LANVIN, Jacques FATH, WORTH, Jean PATOU, SCHIAPARELLI, ROCHAS, Paul POIRET, Pierre IMANS... ; il réalise des modèles pour les tissus Koechlin, les filatures Prouvost et la maison Clark's (Pages d'Or de l'édition publicitaire, p. 255).

      [Bookseller: Librairie Chrétien]
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        "Eve a commencé".

      1930 1Encre de Chine, titrée en haut à droite, (1930), sur papier cartonné, 28 x 12.4 cm. Une jeune femme nue au corps blanc de lait se détache sur un fond noir ; un serpent l'enlace voluptueusement et seule sa chevelure est agrémentée de plumes. Léon BENIGNI (1892-1948) a illustré Alfred de MUSSET (Bénézit, I, 624-25). Il travaille surtout pour la presse de mode en France et à l'étranger ; il participe aux revues Vogue, Frou-Frou, Fantasio, Femina, Modes et Travaux, L'Officiel, Art-Goût-Beauté, Art et Industrie... (France) ; Harper's Bazaar (Angleterre) ; Die Dame et Elegante Welt (Allemagne) ; La Donna (Italie) (Dico Solo, 67). Il réalise des publicités pour les marques suivantes : Rouge Baiser, RIVAL (rouge à lèvres), Mauboussin, le paquebot L'Atlantique, Frigeco, les fourrures Brunswick, les grands magasins (La Samaritaine, Le Bon Marché, La Grande Maison de Blanc, Le Louvre, Le Printemps), Ford... ; les couturiers HERMES, Jeanne LANVIN, Jacques FATH, WORTH, Jean PATOU, SCHIAPARELLI, ROCHAS, Paul POIRET, Pierre IMANS... ; il réalise des modèles pour les tissus Koechlin, les filatures Prouvost et la maison Clark's (Pages d'Or de l'édition publicitaire, Forney, 1988, p. 255).

      [Bookseller: Librairie Chrétien]
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        Fluglehre. I. Teil. [Österreich, um 1930].

      1930. 58 Bll. Hektographiertes Typoskript. Mit 30 Textskizzen und 11 einmontierten Originalphotographien. Kartonschnellhefter. Folio. Hübsches Dokument der österreichischen Luftfahrtsinstruktion zu Beginn der 1930er Jahre. - Stellenweise unbedeutend braunfleckig; einige Textstellen mit einmontierten Typoskriptstreifen mit alternativem Text überklebt. Am Vorderdeckel hs. Besitzvermerk "Muller Oblt." in rotem Buntstift.

      [Bookseller: Antiquariat Inlibris]
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        3 (davon 2 eigenh.) Briefe mit U. bzw. Paraphe und 1 ms. Telegramm. [Büyükada und Mexiko City, 1930, 1938 und 1939].

      1930. Zusammen 4 SS. auf 4 Bll. Verschiedene Formate. Inhaltsreiche Korrespondenz mit seinem Pariser Anwalt Gérard Rosenthal. In den zwei ersten (eigenhändigen) Briefen - geschrieben aus dem türkischen Exil - berichtet Trotzki seinem Anwalt von seinen Bemühungen nach Frankreich zu übersiedeln. I: [Büyükada], 14. III. [1930]. "Mein lieber Gerard (alias sinistrer Gefährte). Ich sende Ihnen den zweiten Brief, und ich hoffe, es werden nicht mehr. Ich werde mich morgen beim französischen Konsulat erkundigen [...]" (Übers. a. d. Frz.). II: [Ebd.], 16. III. 1930. "Lieber Gerard (oder andernfalls sinistrer Advokat), ich habe an Marg[uerite Rosmer] über meinen Besuch am französischen Konsulat geschrieben. Wenn es Sie interessieren sollte, wird Ihnen Marg. Auskunft geben (da es für mich zu umständlich ist zweimal zu schreiben). Ich denke, Sie werden sich an Marg. wenden müssen, sie wird nützlicher sein als ich. (Es ist vor allem die Frage nach finanziellen Bürgen.) [...]" (Übers.). -- Der ms. Brief vom 8. Dezember 1938 wurde im mexikanischen Exil in Mexico City verfaßt, wo Trotzki dabei war, die Aktivitäten der Vierten Internationale als Opposition zu Stalin zu koordinieren. Bei dem namentlich nicht genannten Adressaten wird es sich wohl ebenfalls um Rosenthal handeln: "[...] Ich habe Ihnen am 13. November über [Bernard] Grasset (No. 16-82/06) geschrieben. Der alte Mann ist sehr beunruhigt [...] Er verdächtigt V[ictor] S[erge] einer kleinen Intrige (zwischen uns!). Grasset wird ihm wohl die besagten Kapitel zu lesen gegeben haben, so daß er die entsprechende Stelle gefunden haben dürfte, und V[ictor] S[erge] dürfte auf eine die ganze Angelegenheit bloßstellende Art geantwortet haben. (Er ist zur Zeit sehr vertraut mit [Boris] Souvarine, der die Buchveröffentlichung in nicht allzu günstigem Licht sehen dürfte.) Sie müssen die Angelegenheit unbedingt direkt mit Grasset (oder Vigneau) aufklären. Wir warten auf eine rasche Antwort. Das ganze bleibt unter uns [...]" (Übers.). Bernard Grasset war der Verleger von Trotzkis im Jahr zuvor erschienener Schrift "La révolution trahie" und der in diesem Jahr erschienenen Schrift "Les Crimes De Staline". -- Trotzkis Telegramm v. 10. April 1939 wurde gleichfalls in Mexico City verfaßt und aufgegeben. Trotzki äußert darin seine Sorge um seine erste Gattin Alexandra Sokolowskaja, die 1935 verhaftet und in ein sibirisches Lager verbracht worden war, wo sich ihre Spur im Jahr zuvor (1938) verlaufen hatte. Auch über seinen Enkel Sieva (den Sohn seiner 1933 durch Freitod aus dem Leben geschiedenen Tochter Sina) zeigt sich Trotzki besorgt. Dieser stand nach dem Tod seines Vaters Platon Iwanowitsch Wolkow (1936) in der Obhut von Jeanne Molinier, der ehemaligen Gattin des Führers der französischen Trotzkistenbewegung, die ihrerseits in enger Beziehung zu Sievas im Pariser Exil verstorbenem Vater gestanden hatte und nun, nach dessen Tod, Anspruch auf dessen zurückgebliebenen Enkel erhob. Trotzki, der aus dem mexikanischen Exil heraus sich bemühte, seinen Enkel zu sich zu holen, sollte erst im August 1939 vor Gericht damit durchkommen. Ziemlich genau ein Jahr vor seinem Tod konnte er dann schließlich den geliebten Enkel in die Arme schließen: ""Standesamtliche Trauung Gefängnis Moskau März neunzehnhundert Alexandra Sokolovskaia ohne welche Aufenthalt kommun. Sibirien unmöglich stop Legaler türkischer Pass Sieva aufgrund sowjetischer Dokumente mit Verwandtschaftsangaben in Händen der Jeanne Molinier stop Ihre Weigerung Pass vorzulegen Falschaussage stop Anwendung Gesetz verlassene Kinder unfassbar schändlich stop Werde Beweise vorlegen für regelmässige Zahlungen an meinen Sohn Sieva und Jeanne Molinier / Trotzki".

      [Bookseller: Antiquariat Inlibris]
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        Douze Contes de Paris et de Provence.

      P. Les Quatre Livres 1930. In-4° en ff, sous couverture en deux couleurs, chemise et étui. 50 lithographies originales en couleurs et 12 lettrines décorées de Léo LELEE. Tirage limité à 250 exemplaires, un des 200 sur vélin blanc de Rives.

      [Bookseller: Librairie In-Quarto]
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        "Les Chansons de Bilitis".

      9 dessins à la mine de plomb, études sur calque signés ou monogrammés pour certains et légendés, sous Marie-Louise, (1930), 18 x 13 cm., montées dans un coffret toilé estampé sur son premier plat d'une épreuve au burin figurant marouflée sur un papier composé d'éclats de couleurs Bilitis et titré au dos, (Claude Chalanson). Neuf calques préparatoires au texte "Les Chansons de Bilitis" de Pierre Louÿs, légendés manuscritement par l'artiste. Cette première interprétation du texte de Pierre Louÿs est très différente de celle publiée en 1948 et réalisée en 20 pointes sèches. Ces dessins de Mariette LYDIS sont proches de sa manière dans "Sapho" dont il émane une profonde sensualité mêlée à l'ambiguité de ces rapports saphiques auxquels les pratiques de l'artiste n'étaient pas étrangères. Ses titrages sont éloquent: "et j'appliquais mes lèvres ouvertes sur la nuque chevelue d'un rameau".. ou "lui c'est moi, tu peux jouer avec mes seins"... Ses modèles avec qui Mariette LYDIS entretenait des rapports passionnels apparaissent dénudées, aguicheuses ou offertes mais toujours très charnelles au fil de ces neuf études féminines. Petites taches, piqures et déchirures marginales, feuilles contrecollées, traces marginales, report de Marie-Louise et décoloration en marge.

      [Bookseller: Librairie Chrétien]
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        Autograph letter signed. Boulogne-Billancourt, [after 1930].

      1930. 4to. 1¾ pp. To an "Editorial Board": "What you asked me in your last letter represents the hardest task for me. I am a badly organized and lazy person in regards to anything that is not related to my direct work, which is sculpture. There is enough literature, a few monographs, and lots of magazines and newspaper articles, but to put it all together is beyond my ability. I will send you the one that I received recently as an example. Incidentally this is one is flattering, but there are a few that are not so rewarding. Anyway - all that is not really important. I believe that the day will come when the contour of my art will become clear. Meanwhile, for those who want to know from where I came and how old I am - here is my short autobiography. I was born on 30th of August (new style) in v[illage] Druskeniki; Grodno county, in a pious Jewish family. I studied at vocational school in Vilna and in 1909 went to Paris to study scultpure (I did some as a self-taught since my early childhood). So I have lived here since that time, I even became a naturalized French citizen. I studied at the Academy and since 1912 have had several exhibitions in different salons, but not many. I did have a personal exhibition at the Rosenberg gallery in 1920 and a second one, very extensive in 1930. My works are in different personal collections and museums. There is not much exciting in happening in my life. That's all. With all my respect [...]". - Though Pablo Picasso is credited with creating Cubism, Lipchitz advanced and further interpreted the style by applying the principles of Cubist painting to sculpture. When he moved to Paris in 1909, he became acquainted with Picasso, as well as fellow sculptors Juan Gris and Alexander Archipenko. During this time he created Cubist sculptures including his "Sailor with Guitar". In 1924, Swiss avant-garde architect Le Corbusier built a studio for Lipchitz on the outskirts of Paris, whence our letter was written. By the time the Nazi's occupied France, forcing Lipchitz to move to the U. S., he was known around the world. - Folded with a small vertical fold tear at the upper edge and four file holes in the margin not affecting the text. With a moderate amount of foxing and some uneven age toning on the recto. A fragment of paper headed "Le Musée" is affixed to the upper left corner.

      [Bookseller: Antiquariat Inlibris]
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        Types of economic theory / by Othmar Spann ... translated from the nineteenth German edition by Eden & Cedar Paul

      London : G. Allen & Unwin ltd., 1930, Hardback, Book Condition: Very Good, First Edition. Very good copy in the original gilt-blocked cloth. Some minor fraying to spine bands, with panel edges slightly dust-toned and rubbed as with age. Light surface marks to boards. Remains particularly well-preserved overall; tight, bright, clean and strong.; 8vo 8" - 9" tall; 329 pages; Physical description: 329 p. : diagrs. ; 22 cm. Subjects: Economics - History - Economic Theory - Social Sciences. Macroeconomics - History. "Political economy is not a science of business but a science of life" --title page. Bound with publisher's ads [4p.] at end. 329 pages. Inventory No: 197369. First Edition

      [Bookseller: MW Books Ltd.]
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        Mort (La) de Venise. Illustrations de Maurice Denis gravées sur bois par Jacques Beltrand.

      Paris, Editions EOS, 1930 ; in-4 en feuillets, couverture rempliée rouge-brique, sous chemise cartonnée à larges rabats et lacets de soie de même couleur et illustrée d'un grand bois gravé bistre, dos en percaline bistre ; (4) feuillets, 88 pages, (4) feuillets ; 20 bois gravés en couleurs dont dix hors-texte, six vignettes et culs-de-lampe et un grand bois illustrant l'étui et la couverture. Tirage à 225 exemplaires (N°150) sur vélin pur fil teinté BFK de Rives filigrané " Maurice Barrès ". Percaline fendillée aux deux mors du premier plat. Superbe ouvrage admirablement illustré par Maurice Denis, en très bel état.

      [Bookseller: Librairie Ancienne Clagahé]
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        L'Abbesse de Castro.

      Paris, Javal et Bourdeaux, 1930. 1 vol. in-8. Plein veau glacé gris, dos lisse orné à froid de deux trèfles stylisés en encadrement, titre et auteur dorés, date en pied, magnifiques fers d'encadrement sur les plats reprenant dans les angle le même motif, gardes moirées, double filet à froid sur les coupes, tranches dorées [LOUISE PINARD 1930]. Couvertures conservées. Étui. Dos légèrement insolé.Tirage à 200 exemplaires, celui-ci un des 15 premiers sur japon impérial, contenant en supplément un état en couleurs avec remarques, un état en sanguine, un état en bleu et la décomposition d'une planche, est ajoutée une suite de 14 "aquarelles" de SIMÉON faite pour une édition qui devait paraître précédemment et qui a été interrompue par la mort de l'artiste.Les sept premières "aquarelles" (celles à pleine page) de la suite de Siméon sont ici en deux états : le tirage en noir, tirage rehaussé en couleurs.Notre exemplaire est enrichi en plus de deux aquarelles originales, correspondant au premier dessin de la suite de Siméon et à l'illustration de Malassis en regard de la page 162.Très bel exemplaire dans une sobre et élégante reliure estampée à froid réalisée par la fille du relieur Durvand, Louise Pinard. Louise Pinard, aussi habile relieur que son père l'avait été, exerça seule seulement dix ans, de 1924 à 1934, date de son décès. Ses reliures sont par conséquent peu nombreuses. (Fléty, Dictionnaire des relieurs français ayant exercé de 1800 à nos jours, p. 144).

      [Bookseller: Librairie Gaëlle Cambon]
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        Le Marié Magique.

      Selon le texte et la traduction du Docteur J.-C. Mardrus. 42 Illustrations en couleurs de Antoine BOURDELLE. Paris, 1930, Société des Bibliophiles Franco-Suisses, Jean Saudé, maître enlumineur, in-4, couverture illustrée, sous chemise et étui cartonné recouverts de paille tressée, 90 pages. Tirage limité à 150 ex. sur Arches, ex. de collaborateur nominatif, à M. le Docteur Pierre Martin. Une des premières publications de cette société fondée en 1930, dont Louis CARTERET était libraire. Belle publication recherchée et cotée (Carteret, 2/II, 46 et IV, 46). L'impression est due à Ph. Gonin et les enluminures à Jean Saudé. Usures à l'étui, piqures sur la couverture, infimes taches.

      [Bookseller: Librairie Chrétien]
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        Sämtliche Werke.

      - Historisch-kritische Gesamtausgabe, herausgegeben von Wilhelm Krämer. 6 Bände. Leipzig, Hiersemann 1930-1937. Gr.-8°. Sehr schöne rote Ganzmaroquinbände auf 5 Bünden mit braunen goldgeprägten Rückenschildern und dreiseitigem Goldschnitt. Publikation der Bibliothek des Literarischen Vereins in Stuttgart, Sitz Tübingen. - Hagen, Handbuch der Editionen S. 236. - Ein kleiner Fleck am Vorsatz von Band 4, sonst tadelloses, aufwenig gebundenes Exemplar aus dem Vorbesitz von Leopold Tietz, Köln. - Sehr selten.

      [Bookseller: Antiquariat Stammerjohann]
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        Le Livre blanc.

      P., Éditions du signe, 1930, in-4, br., 68 pp. (M.24) Édition originale, illustrée d'un frontispice et de 17 dessins de l'auteur. La parution sous le manteau, en 1928, de ce texte avait fait un tel scandale que Cocteau ne figure ici que comme illustrateur. D'où le commentaire de Cocteau en fin de volume : "On a dit que le Livre Blanc était mon oeuvre... Mais quel que soit le bien que je pense de ce livre - serait-il de moi - je ne voudrais pas le signer parce qu'il prendrait forme d'autobiographie et que je me réserve d'écrire la mienne, beaucoup plus si ngulière encore". Un des 22 ex. H.C., marqués de a à v, celui-ci exemplaire e imprimé pour Monsieur B. Armington, l'artiste qui a mis en couleurs les dessins de Cocteau. Dessin original sur toute la page de faux-titre et superbe envoi autographe de Coc teau : "Mon cher Armington ce livre est beaucoup plus de vous que de moi. Il est injuste que je vous l'offre, même avec ma profonde reconnaissance. Jean". Quelques piqûres à la page de titre.

      [Bookseller: Librairie Jean-Etienne HURET]
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        Les Trois contes de mon jardin.

      1930 ca Cahier de dessin Canson B à grain de 24 pp. ( (24X32), sous chemise papier noir à rabat. Superbe enfantina manuscrit, illustré à l'encre, à l'aquarelle et à la gouache par la peintre Andrée Chameron (1894-1985). Trois historiettes pleines de fantaisie : Oui, Rouge-gorge je suis ! ; Ils étaient six petits canards - si jolis petits canards ; je t'en supplie ! reste petit pigeon ! Joint : 2 doubles feuilles volantes (22x28 cm) portant un conte inachevé, illustré de dessins à l'encre et l'aquarelle et 1 feuille de dessin (30x23 cm) avec une composition à pleine page, encre et aquarelle.

      [Bookseller: Bonnefoi Livres Anciens]
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        SWALLOWS AND AMAZONS - A Stunning Copy

      Original green cloth with gilt titles in pictorial wraparound dustwrapper designed by Steven Spurrier.Pictorial endpapers in map design and map frontispiece by Steven Spurrier.A fine copy, very tight and clean, with very slight fading to the cloth through the dustwrapper, though remaining uncommonly bright. The dustwrapper is in very near fine condition, slightest darkening to the spine, with a small splash to the lower edge and a minor patch of abrasion to the upper panel. A remarkable copy of this fragile and uncommon book.

      [Bookseller: Jonkers Rare Books]
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        CE QUI ETAIT PERDU (Roman)

      1930Paris, les Cahiers Verts Editeur, 1930. 1 volume in 8° carré, relié demi-chagrin marron à bandes, dos à 4 nerfs, avec titre, auteur et tête dorés. (2 couvertures et 2 dos conservés). Reliure signée G.GAUCHE. Edition Originale sur Vélin d'Arches. Exemplaire n°138. Exemplaire en parfait état intérieur mais la reliure est légèrement insolée avec le temps. Reliure signée.>>>> Jean-Christophe YVARD sera présent au XXème Salon du Livre, Bordeaux les 22 et 23 octobre -L ibrairie ouverte aussi sous les arcades de la cité médiévale de Bazas -33- (40 minutes depuis Bordeaux).

      [Bookseller: Librairie Ancienne du Sud Gironde]
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        "Les inconvénients de la Mode - L'uniformité de la Mode".

      1930 1Aquarelle et gouache signée en bas à droite et titrée, (1930), 30 x 20 cm. Armand VALLEE (Paris 1884-1960 Paris), membre des Humoristes, décorateur à l'Opéra de Paris, dessinateur de mode, de livres, de publicités et d'affiches... Il collabora à de nombreuses revues "Le Témoin", "Le Sourire", "Le Journal des Dames des Modes" "L'Image", "La Gazette du Bon Ton", "La Vie Parisienne", "Le Rire"... Il réalise ce dessin d'humeur pour la revue "Fantasio". Une assemblée féminine de huit femmes toutes dans des robes bleues bordées d'hermine et chapeau très Art-déco et uniformes prenant leur thé dans un salon à leurs couleurs. Légende manuscrite à la mine de plomb dans les parties supérieures et inférieures. Mention manuscrite à l'encre bleue de la revue "Fantasio" en marge du dessin. Petites pliures et trous d'épingles en marges.

      [Bookseller: Librairie Chrétien]
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        War is War

      First edition; 8vo; original boards, dust jacket and wrap around band bearing quote by R. C. Sherriff. For most of his life Burrage was a prolific author of short fiction for magazines, mainly superlative ghost stories along with romances. In 1916 he volunteered to join the Artists Rifles, unlike Wilfred Owen and Edward Thomas who also served in the Artists Rifles he did not progress to a commission. In War is War he hints that this was because he was a very unmilitary person, and an unsatisfactory soldier (while being scathing about the quality of many of the officers set above him). Burrage fought at Passchendaele, and in the retreat of 1918. By the late 1920s, there was a boom in war books. All Quiet of the Western Front was a best-seller, and publishers were eager to find a British equivalent. Burrage wrote War is War, a caustic and very credible account of his service in the Army. In the book, Burrage says that he used a pseudonym because "were it otherwise I could not tell the truth about myself and others."Victor Gollancz, greatly admired it, had to point out that the critics would hardly take the book seriously if it became known that the author earned his living producing two or three slushy love stories a week. War is War, is one of the few Great War memoirs written frankly by a private soldier. A fine copy, end papers a little browned, in a fine dust jacket, with minor splits to the extremities. With the original wrap-around band. A stunning copy.

      [Bookseller: York Modern Books]
 40.   Check availability:     PBFA     Link/Print  

        Important Collection of Letters, 1930-1937

      Used; Like New/Used; Like New. An important collection of letters from the Austrian writer who became one of the most highly regarded men of letters writing in German between the wars, to fellow writer and European exile Felix Wittmer. Dated from 1930 to 1933 in Salzburg and from 1934 to 1937 in London, the letters are composed in a kind and encouraging tone, providing the younger writer with suggestions from improving and marketing his poetry and plays, some of the letters addressing finer literary points, and others offering material advice and offers of connections in the field. The letters have been translated from German into English, apparently by Wittmer at the time of their original sale in 1978, and his typed translations accompany the letters, some with additional commentary in English from Wittmer. Of nine original letters (numbered in pencil at the head of each), seven are present in the original, each hand signed by Zweig. Letters number 1 and 4 are lacking in the original, but supplied in facsimile.  Also present is a letter from Wittmer to the original purchaser (March 5, 1978), as well as a later reprint sepia photograph of Zweig.<br style="">Zweig, a novelist, playwright, journalist and biographer, made his name in the inter-war period as the author of novels and biographies. After the rise of the Nazi party, his Jewish background meant that his work was banned and his books burned in the Third Reich. He fled Austria for London in 1934 and continued westwards to the United States and then to Brazil with his second wife in 1940. In desperation over the horrors continuing in Europe, the two committed suicide together in 1942. Zweig was also a prolific autograph collector and his massive collection of musical and literary manuscripts resides at the British Library.<br style="">Felix Wittmer, Zweig's correspondent, was also a European exile and the author of several books on history, and apparently also of poetry and plays. He worked as a college professor in the United States in 1927-1928 and edited an American edition of Zweig's Sternstunden der Menschheit (published in 1931). Returning to Germany in 1932, he opposed Hitler publicly and was then forced to flee to Paris and then Spain, before returning to the U.S. in 1934. As an academic in America in the 1950's, he published several critiques of communism in academic life (Conquest of the American Mind: Comments on Collectivism in Education, 1956), as well as a book attacking Franklin Roosevelt (The Yalta Betrayal, 1953). He seems to be remembered mostly as a reactionary professor of history, and indeed his comments on the translations of Zweig's letters, as well as his own exceedingly strange letter to James Lowe, indicate that he was indeed a very colorful and perhaps difficult character.<br style="">In the first letter of the collection [no. 1, 2 pp., Oct. 15, 1930], present only in facsimile, Zweig refers Wittmer to two publications on poet Hans Carossa, and goes on to praise and gently critique Wittmer's poems, which "brought me great joy with their lively color.  Perhaps the only other thing I would have wished for would be a certain movement in the rhythm...please believe me to be very sincere when I repeat that I find your verses, with their metallic construction, very worthwhile, and am certainly convinced that they will have great success when they are printed."  A month later, Zweig writes again [no. 2, 1 p., Nov. 17, 1930], saying apologetically that he would like to help Wittmer get his poems published by a good publisher, but "the very word 'poems' nowadays frightens them away," and suggests that Wittmer might himself pay for their printing. He encloses another letter [no.3, 2 pp., undated] which he invites Wittmer to use or send to a magazine, explaining and defending the possible historical inaccuracies in his depiction of John Sutter, the Swiss pioneer of the California Gold Rush, in his Sternstunden der Menschheit. A short note [no. 4, 1 p., June 6, 1931], present only in facsimile and translation, thanks Wittmer for sending "two reviews which I enjoyed reading." Zweig mentions, "I am working on a novel, but it will take time before it's completed and ready for the printer," and adds in a hand-written postscript that he has not yet received a copy of Wittmer's American edition of Sternstunden.  The final letter from Salzburg [no. 5, 1 p., September 11, 1933] expresses Zweig's "sincere but deeply shaken feelings" towards Wittmer, who had been "caught up in this calamity" as the Nazis rose to power. Zweig writes that he would like to help Wittmer find work in Paris, but that "abstract recommendations are without value... I am unhappy I can't even counsel you as to what to do..." He continues, "...the immense blow has hit me only inwardly, and has lamed the will to write."  Writing from London in the next letter [no. 6, 2 pp., April 27, 1934], Zweig (now busy even in exile with social engagements and "reading the proofs of my biography of Erasmus") compliments Wittmer's "beautiful theater play: I liked it very much. It is effective without being sentimental."  He suggests inserting some songs: "In this way you'd add color and release tension into the sinister ending." A long and somewhat incoherent commentary from Wittmer follows the translation, commenting on Zweig ("this marvelous gentleman") that "He said he had refrained from criticizing the Nazis because eventually all the good Germans he had known would have to suffer for it" and asserting that publishers refuse to accept his works: "I'm on the blacklist to which the Communists, the Radicals of the Right, certain religious fanatics, and assorted Puritans have contributed. My books offer startling revelations; but our make-believe society insists on keeping the old lies alive." Wittmer concludes, "When "they" (the publishers) finally get to my manuscripts, your successor can sell these remarks also."  In a short note a month later [no. 7, 1 p., May 23, 1934], Zweig advises Wittmer to send his play to an agency in Paris: "...simply refer to me. If these gentlemen do not also work for the theatre, they will doubtless send you to the right people." Another short letter from London [no. 8, 1 p., Oct. 22, 1934] mentions that the two men will meet the next year in America, and that Zweig has made some contacts in regards to publishing a novel of Wittmer's, but "the foreign publishers' market in this field is limited." Zweig's last letter to Witmmer [no. 9, 2 pp., May 31, 1937] heaps compliments on his latest book, Flood-Light on Europe: "I do not recall any political book which exposes in such shattering and exciting manner the contrast between words and deeds, propagandistic lies and the bloody truth." Always cordial, Zweig offers to help if he can to get the book published in England.<br style="">The accompanying letter from Wittmer to autograph dealer James Lowe [no. 10, 1 p., March 5, 1978] provides a glimpse into Wittmer's rather strange and paranoid mind as an older man, and offers Lowe: "If you care to know the incredible things which occurred to me in the past forty-three years, which takes some time, choose a date for the appointment. I do not mind if you ask friends to hear it."  A sepia toned reprint photograph of Zweig, mounted on card, is included. In fine condition, 12.7 x 17.2 cm.<br style="">The letters are typed with some autograph corrections, signed in purple and blue pen or pencil. Those from Salzburg are typed on Zweig's monogrammed letterhead with the address of his grand villa, Kapuzinerberg 5. Those from London have the addresses 11 Portland Place (1934) and 49 Hallam Street (1937). Light age wear with mailing folds and light toning; overall in fine condition.  Complete translations of the letters are available on request. 

      [Bookseller: Schubertiade Music & Arts]
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        L'Eroica. Rassegna italiana di Ettore Cozzani. Milano, 1930. Quaderno 144/145.

      - Milano, 1930. L'Eroica. Rassegna italiana di Ettore Cozzani. Quaderno 144/145 completamente dedicato all'Artista Benito Boccolari (Modena, 1888-1964). In folio (cm.33,5); pp. 70 (2) + 8 bellissime tavole con xilografie originali di Benito Boccolari. Tutte le tavole sono ripiegate e la più grande raffigura "La Piazza Grande di Modena". Axs [Attributes: Hard Cover]

 42.   Check availability:     AbeBooks     Link/Print  

        Le Parc de Saint-Cloud.

      1930Plume, encre de Chine et lavis, sur papier fin collé sur carton, (1920), cachet de l'atelier au dos, 12 x 21 cm. Belle étude représentant le parc de Saint-Cloud et ses promeneurs, avec vue sur les hauteurs. Les masses blanches et noires de la feuille et du lavis s'équilibrent avec beaucoup d'élégance. Petites déchirures au bord supérieur. Louis WILLAUME (Lagny 1874-Bois Colombes 1949) est élève des peintres William Bouguereau et Gabriel Ferrier. Il débute au salon de la Société Nationale des Beaux Arts en 1899, et reçoit le prix de la société des paysagistes en 1920, le prix Corot au salon de 1923 et la médaille d'or à la section des gravures en 1929. Il réalise environ 500 eaux-fortes.En 1948 il fait partie de la Société des Peintres graveurs français, créée sous l'impulsion de Bracquemond dès 1889. Spécialisé dans le paysage, Janine Bailly-Hertzberg le cite dans son dictionnaire du paysage au XIXe. Plusieurs de ses estampes sont conservées à la calchographie du Louvre.

      [Bookseller: Librairie Chrétien]
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        Cours de chemins de fer. Pratique des Etudes et de la construction, plus spécialement aux colonies et en pays neufs. (3 Tomes - Complet) Tome I : Texte ; Tome II : Atlas N° 1 ; Tome III : Atlas N° 2

      Deuxième édition, 3 vol. à savoir : 1 vol. grand in-4 br., Librairie de l'Enseignement Technique Léon Eyrolles, Paris, 1930, 390 pp. ; et 2 vol. en feuillets sous cartonnage à lacets d'éditeur, Encyclopédie Industrielle et Commerciale, Librairie de l'Enseignement Technique Léon Eyrolles, Paris, 1930, 2 ff. , 44 tableaux et 43 planches ; 2 ff. et 198 planches souvent dépliantes (on compte 4 bis) Bon exemplaire en très bon état, bien complet du texte et des deux volumes d'atlas

      [Bookseller: SARL Librairie du Cardinal]
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        Il diritto delle Pandette. Note e riferimenti al diritto civile italiano iniziate da Carlo Fadda e Paolo Emilio Bensa e continuate da Pietro Bonfante coadiuvato dall'avv. prof. Fulvio Maroi

      Torino; Utet, 1930. 5 voll.; in 8°; pp. VIII, 916; 910; 562; 754; 714; leg. con sovracop. Opera principale del grande giurista tedesco Windscheid. Essa non si distingue per teorie e idee nuove nel senso vero e proprio, bensì per la sistematicità esemplare, per l'acume degli argomenti, per l'esattezza delle formulazioni e, finalmente, per una conoscenza veramente straordinaria non solo della pratica giudiziaria, ma anche e soprattutto della letteratura pandettistica. Piano dell'Opera: Vol.I: Introduzione; Del Diritto in genere; Dei Diritti in generale; Il Diritto delle cose. Vol.II: Il Diritto dei Crediti. Vol.III: Diritto di famiglia; Il Diritto ereditario. Vol.IV: Note e riferimenti ai Libri "Del Diritto in genere" e "Dei Diritti in generale". Vol.V: Note e riferimenti al Libro "Il Diritto delle cose". Le "Note dei traduttori" non furono mai ultimate

      [Bookseller: Studio bibliografico il Libraio]
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        Sebregts, Lode - fashion.

      WINTERCOLLECTIE IN DE GRAND BAZAR WINTERCOLLECTIE IN DE GRAND BAZAR - Hiver au Grand BazarGouache op papier, affiche ontwerp door Lode Sebregts. Eind jaren 1930. Gesigneerd linksboven. Antwerpenaar Sebregts (1906-2002) was kunstschilder, schrijver, tekenaar, leraar, afficheontwerper, decor- en kostuumontwerper. Sebregts heeft 85 exposities op zijn naam staan en een gevarieerd oeuvre van ongeveer 1000 schilderijen. De in 1885 op de Groenplaats geopende Grand Bazar du Bon Marché werd een begrip tot ver buiten Antwerpen. De opening van het luxe warenhuis was meteen ook het begin van het plein als modecentrum. Vaxelaire-Claes opende amper een jaar na Grand Bazar een al even luxe warenhuis op de hoek met de Nationalestraat. De prachtige hoeden en kokette tailleurs, waarmee de Antwerpse vrouw van de prille twintigste eeuw over de straat paradeerde, was niet zelden gekocht in één van deze warenhuizen naar Parijs' model. Van de twee warenhuizen is anno 2008 nog maar weinig over. Vaxelaire-Claes ruimde plaats voor een mislukt winkelcentrum. De Grand Bazar werd omgebouwd tot Hilton hotel. Dit ontwerp voor een affiche voor de wintercollectie moet begin jaren 1950 tot stand zijn gekomen. Prijs: € 850,- (incl. 21% BTW, incl. lijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
 46.   Check availability:     NVvA     Link/Print  

        An artist's model.

      1930 1London, F. F. & G. Witherby, New York, Charles Scribner's sons, (1930), in-4, plein vélin crème, titre et auteur imprimés dorés sur le premier plat, dos lisse titré, tête dorée, 80 pages. Tirage limité à 310 exemplaires sur English hand made paper ; un des 250 exemplaires pour l'Angleterre, N°41, contresigné par l'artiste. Plaisant ouvrage où l'artiste s'amuse à croquer des chiens, leur donnant, dans leurs poses et la description adjancente, des caractéristiques anthropomorphiques très drôles. Les portraits canins sont classés en trois catégories, les "professionnels", les "amateurs" et la "discipline des modèles". En tout 20 illustrations hors-texte en noir, rehauts de sépia. Envoi de présent, salissures et usures à la reliure.

      [Bookseller: Librairie Chrétien]
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      BONDARENKO, N.. RUSSIAN. (BONDARENKO) POSHA by S. Marshak. Detizdat, no date, circa 1930. 4to, (6 1/2 x 8 5/"), pictorial wraps, near Fine. This is the story of a wayward letter that travels for years around the world from country to country and comes back to the original sender who was a boy when it was sent but is now a man. Illustrated with rich color illustrations on every page by N. Bondarenko.

      [Bookseller: Aleph-Bet Books, Inc.]
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