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

        De secreeten ... inhoudende seer excellente ende wel geapprobeerde remedien, tegen veelderhande krancheden, wonden ende andere accidenten: met de maniere van distilleren, perfumeren, confituyren maecken, te verwen, coloeuren ende gieten.Amsterdam, Hendrick Laurensz., 1636. 2 parts in 1 volume. 8vo. Modern sheepskin.

      J. Ferguson, "The secrets of Alexis: a sixteenth century collection of medical and technical receipts" in: Proceedings of the Royal Society of medicine XXIV (1930), pp. 225-246; STCN (2 copies); Thorndike V, p. 147 & VI, pp. 215-216; WorldCat (3 other copies). Rare sixth edition of the Dutch translation of an immensely popular book of secrets, compiled by Alexis of Piedmont. It is generally supposed that Piedmont is the pseudonym of the Italian humanist Girolamo Ruscelli (1500-1566), since Ruscelli mentions in a later work that he and other humanists had founded an "Academy of Secrets" that had published the Secreti. "Books of secrets and experiments had been prominent in medieval manuscripts and were to flare forth again in the second half of the [16th] century in the Secreti of Alessio of Piedmont, of which Ferguson listed 56 edition between its first appearance in 1557 [in Venice] and the end of the century" (Thorndike). It gives numerous "secrets", ranging from how to dye leather, to how to cure sick horses, clean paintings and whiten teeth. Besides these more convenient secrets, there are some occult passages, informing the reader how to dream wildly or how "to write letters on someone's skin that can never be removed". "No treatise better illustrates the popular or household practice of applied chemistry, of the arts, and of medicine..." (Ferguson).With a bookseller's ticket on paste-down. Somewhat browned, with a waterstain in lower right corner throughout, not affecting text, and some occasional spots and ink blots. A good copy.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Original Artwork by Douglas Fairbanks, Jr.

      

      [Bookseller: Sanctuary Books]
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        Documents originaux et inédits pour les métaux repoussés

      Paris: Monrocq, 1930. Draim. Oblong small quarto. 12pp., rectos only. A collection of twelve chromolithographs showcasing embossed metal designs by Art Deco artist Draim (Victor Miard). Each piece of metalwork is gilded or silvered and set against a lavender, green, or peach background. Highlights include a green vase wrapped with a repeating olive branch pattern, and a silver cigarette holder decorated with cherry blossoms. Paper covers with cloth spine, with a gilted title image to the upper cover in the style of the embossed metal designs within. Back hinge cracked, else a fine example of Art Deco design.

      [Bookseller: Bromer Booksellers]
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        Rubaiyat of Omar Khayyam. The First and Fourth Renderings in English Verse By Edward Fitzgerald with Illustrations By Willy Pogany

      New York (1930): Thomas Y. Crowell Company. Full-Leather. Quarto, SIGNED 3 times by Willy Pogany; number 222 of 500 copies for America and 750 copies for sale in England. Bound in full green morocco, with a small red and gilt circular device on front panel; top edge gilt, others uncut, printed on fine hand-made paper; with 12 mounted color plates. Inscribed on half-title "To Major Parker Cromwell Kelloch with my best compliments / Xmas 1930 / Willy Pogany." Signed again on the limitation page and a third time on the frontis, which is an original dry point etching by Mr. Pogany. A lovely, near fine copy.

      [Bookseller: Charles Parkhurst Rare Books, Inc. ]
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        DER FRUSLING UND ANDERES GEPFEFFERTES

      - JEWISH ANTI-SEMITIC INTEREST. DER FRUSLING UND ANDERES GEPFEFFERTES von Otto Holl. Neudamm: J. Neumann, no date, circa 1930. Large 8vo, cloth backed pictorial boards, 68p. + 2 p. ads, sl. cover soil else VG-Fine. A group of stories told in verse about things that can go wrong between men and women, illustrated in color throughout. One 15 page story involves a stereotypical Jewish couple named the Zeilchenbloms and relates what happens when Isidor cheats on his wife with an Aryan blonde haired woman. Without even reading the text, the digusting depictions tell the story. Rare. [Attributes: Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        A Roving Commission

      Charles Scribner's Sons, New York 1930 - This is a beautifully clean and bright U.S. first edition, first printing, in dust jacket. Published in England as My Early Life, this is one of the few Churchill first editions for which the U.S. edition bears a different title than the British. Churchill's extremely popular autobiography 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. This 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. Jacketed copies of the U.S. first edition are scarce; the fragile dust jacket proved highly vulnerable to wear and severe fading of the orange color, particularly on the jacket spine. Even decent unjacketed copies are unusual. The red-orange cloth binding proved highly susceptible to fading and soiling. Here is a notably fine copy in a very good first printing dust jacket. The coarse red-orange cloth binding is tight, square, and remarkably clean with virtually no wear or soiling, sharp corners, and bright gilt. The spine is beautifully bright with no color shift except at the spine ends corresponding to dust jacket losses. The contents are immaculate. We find absolutely no spotting or previous ownership marks. Even the untrimmed fore edges are clean, as are the top and bottom edges. The Scribner's "A" on the copyright page confirms a first edition, first printing. The dust jacket is unclipped, still bearing the original $3.50 front flap price. The jacket is also unusually clean for the edition, virtually free of the usual soiling. Nonetheless, the jacket does show wear to extremities, with losses to a maximum depth of .75 inch at the spine head, one inch at the heel, a smaller triangular loss at the upper edge of the rear face, and wrinkling and closed tears to the edges of the front face. The orange spine panel is typically faded, but does retain some original color. Do note that we have photographed the jacket without a dust jacket protector. Now that we have applied a removable, archival quality clear cover, the jacket actually presents noticeably better, since various closed tears and chips now lay safely flat. Bibliographic reference: Cohen A91.2.a, Woods/ICS A37(b.2), Langworth p. 134. [Attributes: First Edition; Hard Cover]

      [Bookseller: Churchill Book Collector ABAA/ILAB/IOBA]
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        Österreich-Ungarns letzter Krieg 1914 - 1918. Bände 1 bis 7 und Beilagenbände 1 bis 7 und Registerband (!) Hg. vom Österreichischen Kriegsarchiv. Registerband bearbeitet von Maximilian Ehnel und Edwin Freih. von Sacken

      Verlag der Militärwissenschaftlichen Mitteilungen 1930 - 8°, OLeineneinbände. Band. 1: XIX + 835 Seiten, 1930. Beilagenband 1: Skizzen 1 - 56, Beilagen 1 - 28. Band 2: XV + 814 Seiten, 1931. Beilagenband 2: Skizzen 1 - 36, Beilagen 1 - 40. Band 3: XVI + 624 Seiten, 1932. Beilagenband 3: Skizzen 1 - 20, Beilagen 1 - 32. Band 4: XVII + 745 Seiten, 1933. Beilagenband 4: Skizzen 1 - 4, Beilagen 1 - 29. Band 5: XIV + 746 Seiten, 1934. Beilagenband 5: Beilagen 1 - 35. Band 6: XVIII + 792 Seiten, 1936. Beilagenband 6: Beilagen 1 - 36. Band 7: XIX + 856 Seiten, 1938. Beilagenband 7: Beilagen 1 - 39, 1 Anlagenheft. Registerband: IX + 330 Seiten, 1938. Alle Bände mit leichem Kellergeruch. Geringe Stockflecken am geklebten und fliegenden Vorsatzblättern. Buchdeckel alle mit frischer goldener Beschriftungen, Rücken der Bände 1, 6 + 7 etwas blasser. Hier ein komplettes Werk ohne (!) fehlender Skizzen und ohne (!) fehlender Beilagen mit (!) dem Registerband 0 S.

      [Bookseller: Buchhandlung W. Neugebauer GmbH & Co.KG]
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        Solal

      First edition, one of 109 numbered copies on laid Lafuma Navarre and taxed back at quarto foolscap, deluxe edition.Binding half morocco ... Nrf Paris 1930 17x22cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Son of the Forest": Original typescript of an expansion of a Johnston McCulley story as it appeared in Street & Smith's Western Story Magazine, with numerous pencil corrections, the original story excerpted from the magazine and marked to show insertions, which are on about 100 pages, total approximately 25,000 words, and expand the story to some 55,000 words, presumably for publication as a book

      n.p. 1930 - 1 vols. 11x 8-1/2 inches. Corrected Typescript of the Expansion of a Johnston McCulley Story. McCulley's adventure story, set in the Canadian North Woods, has been "elaborated" by substantial new text added at the end. Johnston McCulley is best known as the creator of the famous masked hero Zorro (not present in this story). Marginal tears on first page of typescript, a little wear to the magazine pages, else very good

      [Bookseller: James Cummins Bookseller, ABAA]
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        "Son of the Forest": Original typescript of an expansion of a Johnston McCulley story as it appeared in Street & Smith's Western Story Magazine, with numerous pencil corrections, the original story excerpted from the magazine and marked to show insertions, which are on about 100 pages, total approximately 25,000 words, and expand the story to some 55,000 words, presumably for publication as a book

      n.p., 1930. 1 vols. 11x 8-1/2 inches. Marginal tears on first page of typescript, a little wear to the magazine pages, else very good. 1 vols. 11x 8-1/2 inches. Corrected Typescript of the Expansion of a Johnston McCulley Story. McCulley's adventure story, set in the Canadian North Woods, has been "elaborated" by substantial new text added at the end. Johnston McCulley is best known as the creator of the famous masked hero Zorro (not present in this story).

      [Bookseller: James Cummins Bookseller]
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        Lettres persanes. Lettrines de Robert Lanz.

      G. Crès, Paris 1930 - 2 Bde. Paris, G. Crès, 1930. 8°. XI, 262 S., 1 Bl.; 254 S., 3 Bl. Blaue Ldr.-Bde. mit goldgepr. Rückentiteln, Deckelfileteirung und Deckelbild, Innenkantenvergoldung, Kopfgoldschnitt, hellblauen seidenem Vorsätzen.In HLdr.-Kassette mit marmor. Papierbezug. =Le musée du livre, tome premier et tome deuxième (et dernier) du cinquième ouvrage, série A. - Eines von 940 numerierten Exemplaren auf Vélin de Rives (GA 1000 Ex.). - Die Vignetten von Robert Lanz in Blau/Schwarz. - "Die 'Lettres persanes' geben, mit einer modernen, exotischen Romanhandlung verbundene, durch die fiktive Briefform auf die Ebenen des Relativen gestellte und so getarnte, geistvoll ironische, kühne und umfassende Zeitkritik an Europa, besonders Frankreich, dar: an Sitten, sozialen und politischen Zuständen, bereichert durch Reformvorschläge und das utopische Bild einer idealen Republik." Wilpert S. 1046. - Schönes Exemplar. Sprache: Französisch Blaue Ldr.-Bde. mit goldgepr. Rückentiteln, Deckelfileteirung und Deckelbild, Innenkantenvergoldung, Kopfgoldschnitt, hellblauen seidenem Vorsätzen.In HLdr.-Kassette mit marmor. Papierbezug. [Attributes: Hard Cover]

      [Bookseller: Biblion Antiquariat]
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        Moby Dick, or the Whale Illustrated by Rockwell Kent

      Chicago: Lakeside Press/R. R. Donnelley. Very Good in Very Good dust jacket. 1930. First Thus. Hardcover. A classic novel in the limited three-volume edition of 1000 copies illustrated by Rockwell Kent. This set of volumes comes in the orginal aluminum case, with some marks to the outside of the case, and the original acetate covers. The acetate on volume two has a one-inch tear. Black boards with silver imprint, light sunning of spines. A few last pages are uncut. Black top edge, clean interiors. Many of the stark black and white illustrations are full-page, with some offsetting. Rockwell Kent had already gained some success as a writer and artist when he was approached by Lakeside Press and he suggested that he illustrate Moby Dick for the press. The success of this edition and its trade counterpart popularized what had become a relatively obscure novel. A rare find in such good condition. ; B&W Illustrations; 12" x 9" .

      [Bookseller: Back of Beyond Books, ABAA]
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        Autograph musical quotation signed in full

      - No compositions by the French violinist Thibaud are recorded."At 13 his precocious talent took him to the Paris Conservatoire. He formed a trio with his brothers, a pianist and a cellist of ability, but it was as the partner of Cortot and Casals in a famous trio, chiefly active from 1930 to 1935, that he is remembered as an ensemble player. Thibaud never retired; he appeared in London when he was over 70 and gave his last concert at Biarritz ten days before he was killed in an air crash on his way to a concert tour in the East Asia." W.W. Cobbett and Noël Goodwin in Grove Music Online. Octavo (204 x 138 mm.) 1 measure from an unidentified technical study, being an 8-note staccato pattern in C major, repeated in C-sharp major, both under one downbow, marked "Presto." On an album leaf. Signed and dated "Liège 30 Mai 1921" in black ink. [Attributes: Signed Copy]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        The Secret of the Old Clock

      Grosset & Dunlap, 1930 A near fine first edition in a very good professionally restored dust jacket. Farah 1930A-1. Only three titles listed on front flap, which is the key issue point for the first printing. All later printings had four or more books listed. Housed in a custom-made collector's slipcase.. 1st Edition. Hardcover. Near Fine/Very Good.

      [Bookseller: Bookbid Rare Books]
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        Nevermore

      New Jersey or New York?: Al Capp, ca.1930's. UNIQUE. Framed. Very Good . Al Capp. Oil painting framed (15 1/2" H by 18 5/8" W; image: 13 7/16" x 16 7/16") signed by Al Capp with facial caricature of a man with bulbous eyes & two teeth plus initials; with the Edgar Allen Poe-based caption "Nevermore" in gold with black highlighting and double underlining, above a cartoon of a drunken black raven with orange beak passed out upside down in a martini glass while still holding an olive with pimento. On the tattered brown paper backing, there is the ink inscription: "PRESENT from MR. ACE" / The One and Only 1981" and an old browned newspaper cut-out of an Edgar Allen Poe caricature (see below). Panel beneath the brown paper reads: Visit our Grecian Art Pavilion Ltd. Home of the "Hellenic Art Festival" Exquisite Oil Paintings, Watercolors and select Handicrafts by Greek Artists 95-42 Queens Blvd. Rego Park N.Y. 11374 (212) 275-1745 Opposite Alexanders with auction tag Stamp (faded) on brown paper reads: Hellenic Art Center, Ltd. 2804 Stenway Street Astoria, N.Y. 1805 (210)-545-5093 Original Oil Paintings Framing & Frames in Stock Nevermore" is Al Capp's amusing painted parody of Edgar Allen Poe's famous croaking Raven, adapted to point the negative moral of drunkenness for alcoholics. This remarkable and unique framed oil is in a somewhat worn wooden frame; executed on board (?); and signed with Capp's unusual early caricature face & initials. Al Capp (1909-79) has been called--correctly, I believe--the "Mark Twain of cartoonists." Other comparisons have likenened his work to that of Charles Dickens, who also used social satire, lampoons, reformist topicality, and memorable names for his unforgettable characters. Thus, Capp observed that Dickens might have written comics if he had been alive today. As Capp also liked to emphasize: "No artist who can write should avoid words; no author who can draw should avoid drawing." From his boyhood on, Al Capp was an enthusiastic reader of "literary classics" to name a few: adventure novels, Dickens, Thackeray, Conrad, Trollope, G.B. Shaw, and Edgar Allen Poe. During the late '40's and '50's, when public fears mounted about violence and horror in comics having negative effects on children, Capp used the example of Poe to illustrate that great authors and their works were not deemed to have such negatives. In this remarkable use of a major Poe image--that of the Raven who croaked "Nevermore"--Al only slightly twists it humorously to point a moral against alcoholism. (Of course, Poe himself suffered from alcoholism . . . and more, while Capp was always a teetotaller, though he, too, suffered in later life from a "cocktail" of drugs he took to cope with manic-depressive tendencies and chronic pain caused by the early amputation of most of his right leg.) No doubt, in part, because of the mysterious alchemy created by the interaction of his comedic genius with his physical and emotional problems, Capp's comic-based social satire was brilliant, inventive, frequently controversial, enormously influential, and topical--having persisted for 40 or more years through the middle of the 20th century with numerous repercussions to this day. Capp's characters and related creations have become part of American folklore; among them, Dogpatch and its folksy denizens: Mammy and Pappy Yokum; Li'l Abner and a bevy of busty-and-leggy femmes fatals: Daisy Mae, Stupifying Jones, Wolf Gal, Lena the Hyena,, and Available Jones. For many, the depressed region of "Slobbovia" still resonates. Capp's inventive genius led to other memorable creations such as "Sadie Hawkins' Day" (from 1937), and the mass merchandising of "Shmoos" (1948ff.), "Kigme's," and "Kickapoo Joy Juice." Several of Capp's memorable phrases have also entered everyday use such as "amoozin and confoozin," or during the Cold War, the name "Nogoodnik." Likewise, musicals and movies have been made of "Li'l Abner," while an Arkansas' theme park named "Dogpatch" opened in 1968. A high school dropout, Al Caplin took a succession of art courses from several distinguished art schools before he invariably dropped out. Accordingly, his brilliant gifts as a cartoonist were honed on the job after constant practice. Highly relevant to the dating of our oil "Nevermore," during Al Capp's school-and-early apprentice years, he sometimes worked in oils. Because this rare--but undated--cartoon has been executed in oils, we can delimit its creation to Capp's early creative years. For a brief time, Capp was active as a boardwalk caricaturist around Asbery Park, New Jersey. At that time--about 1931-32--he hung out with an alcoholic portrait sketcher named Anderson. That Capp strongly rejected having a similarly depressed, tawdry, and boozy life as a starving artist suggests the milieu in which this memorable piece may have been created. Instead, as a lifelong teetotaller, Al soon took his portfolio of drawings to New York City, where he began his strenuous climb toward recognition and prominence. Also about this time, though he was still signing his work as "A. G. Caplin" in the early 1930s, he formally changed his name to "Al Capp" after he turned 22 in early 1931. We can thus place the creation of this piece to around this period. Comparison of Al Capp's signatures over his career--especially this caricature & initial--indicates that this example is from earlier in his career. Most famous for "Li'l Abner," he began his famous strip on August 8, 1934, while his first full color Sunday strip came out on February 24, 1934. The beloved strip achieved an enormous circulation of 25-million by 1946. And between 1937 and 1947, it is estimated that each day about 70 million people read his "Li'l Abner" comic strip. Artist-writer Capp often remarked: "I think of myself as a novelist and of 'Abner' as a novel, a page of which is pulled every day. At the end of the year, I've written 365 pages, fully illustrated." The remarkable period of the Thirties also saw the birth of Chester Gould's "Dick Tracy" (1931) and "Terry and the Pirates" (1934); while "Superman" (Action Comics) came into being in 1938. Capp created the comic strip of "Abbie an' Slats" in 1937. During World War II, because he had lost most of his right leg in a trolley-car accident, Capp was 4-F. He actively participated in creating promotions for war bonds, and regularly visited wounded vets for whom he regularly drew pictures. The tone of our piece doesn't seem appropriate, though, for a possible hospital visit. During the war and through most of the later 1940's, however, Capp also created devastating pre-Mad magazine parodies. Among them, he lampooned Milt Caniff's "Steve Canyon" with his own "Milton Goniff's, 'Steve Cantor'"; John Steinbeck's, Grapes of Wrath (the Ford film of 1940); and his friend Chett Gould's "Dick Tracy" in contrast to Capp's ridiculous detective "Fearless Fosdick" (1942ff.). Al overstepped contemporary legal boundaries with a strip parody of "Gone wif the Wind" starring "Wreck Butler" and "Scallop O'Hara" in late 1942. As a result, Margaret Mitchell threatened to sue his publisher for $76-million, thereby causing Capp to drop the spoof and formally apologize in another cartoon. Stylistically, our "Nevermore" is a take-off or parody of Poe's very well-known, ominous raven. During the early 1940s, several cartoonists created similar crows and ravens. Capp's raven resembles Chuck Jones' "Mynah bird" that he created for Warner Brothers from 1939-41. Likewise, Cliff Edwards' "Jim Crow" appeared in Disney's "Dumbo" in 1941. One also notes nose art that WWII pilots used to decorate their warbirds ("Old Crow Express" being one such); as well as Paul Terry's very popular, "Heckle & Jeckle"--actually two Magpies, not ravens--that he created in 1946 for Terrytoons. Because of this ravenesque flocking, I would put a terminus a quem date on Capp's fine piece of the mid-1940s. The above date spread (circa 1929-1946) is reinforced by a survey of Al Capp's other bird sketches--not just ravens or crows. This, too, suggests that the simplicity and humor of his raven in "Nevermore" dates from an earlier phase of his long career. Examination of other birds--particularly parrots--indicates that his "bird-style" became more elaborate and decorative over time (e.g., "The Parrots of Wimpole Street" Oct. 1959 drawn by Capp &/or Frazee {lot 582 in Nate D. Sanders' 2013 catalog; a flamboyant and wildly colored parrot drawn by Capp in 1974 [lot 710 in Sanders]). We thus provisionally date our Edgar Allen Poe parody to between the late 1920's through the mid-1940's; and cartoon styles he used--in keeping with other cartoonists--during the 1940's, as reflected by the cartoon of Capp's raven. Accordingly, "Nevermore" fits within the period late 1920's through the immediate post-WWII period, say, 1946. The possible reverberation of Capp's antagonism to alcoholism (pronounced in 1931-32); his use of paint as medium (as during his student and impoverished apprentice days); coupled with the slight wear to the finish of the paint, however, suggest a date closer to the 1930's than the 1940's. We conjecture that this piece was possibly executed in New Jersey and taken with the cartoonist to New York as part of his portfolio in the early 1930's. (One notes that Al Capp once again used oils near the end of his life, when he had an exhibition of large paintings of notable "Li'l Abner" characters at the New York Cultural Center {April 15-May 11, 1975}. At this time, neither the finish, subject, backing, nor size of our parody fit his late spurt of productivity in oils.) The matter of dating is somewhat complicated by the brown paper backing writing, stamp, and framer's ad beneath it. The brown paper backing of the painting has become tattered but one can still read "For MR. ACE / "The One and Only" as well as next to it the clear date "1981." Given the early suggested dates for the creation of Capp's artwork, we assume that this painting was given after Capp's death in 1979 to "Mr. ACE / The One and Only" whomever that was, in "1981." Also, on the paper backing, there was previously a taped [& now removed for safe-keeping] small ~ 3" newspaper clippling depicting a caricature of Edgar Allen Poe with his famous raven [not by Capp] with a date of "1967" appearing on its verso. We cannot be certain who cut out this clipping, but the "1967" date provides a terminus after which the clipping was cut. One can also identify the Greek framer (see above). Given the convergence of likely dates around the late 1920's/early 1930s-early 1940s, however, these later indications of framing suggest that the painting was gifted--perhaps more than once--sometime between 1967 and 1981. (For additional references, see especially, a recent catalog of Al Capp cartoons issued by Nate D. Silver, Inc., in September, 2013; as well as Michael Schumacher & Denis Kitchen, Al Capp: A Life to the Contrary, Bloomsbury (2013)--especially pages 20 on Al's early reading; 34 on the alcoholic caricaturist Anderson; 81, 112-13, 136 on Poe; 162 on Stenbeck's plaudits; & pages 251-52: where Capp observed that when he took up oils in the 1970's, he hadn't used that medium since art school.)

      [Bookseller: Borg Antiquarian]
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        Le juif errant est arrivé

      Albin Michel 1930 - - Albin Michel, Paris 1930, 14x21cm, broché. - Edition originale, un des 20 exemplaires numérotés sur Hollande, le nôtre imprimé spécialement pour Henri Béraud, tirage de tête. Envoi autographe signé d'Albert Londres à son ami Henri Béraud ". et porté par les tendresses d'Albert Londres." en dessous de la justification du tirage. Quelques petites et claires rousseurs affectant principalement certains témoins. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Edition originale, un des 20 exemplaires numérotés sur Holland papere, le nôtre imprimé spécialement pour Henri Béraud, tirage de tête. Envoi autographe signé d'Albert Londres à son ami Henri Béraud ". et porté par les tendresses d'Albert Londres." en dessous de la justification du tirage. Quelques petites et claires rousseurs affectant principalement certains témoins. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Tiny Carteret.

      London: Hodder and Stoughton, [1930] - Octavo. Original blue cloth, titles to spine and front board in black. With the dust jacket. Minor sunning to spine, endpapers a touch tanned. An excellent copy in a slightly rubbed jacket with mild toning to spine panel. First edition, first impression.

      [Bookseller: Peter Harrington. ABA member]
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        THE WYCHFORD POISONING CASE

      Published for the Crime Club, Inc. by Doubleday, Doran & Company, Inc., Garden City, NY 1930 - Octavo, pp. [i-vi] vii-viii [ix-x] 1- 308 [309: Crime Club statement] [310: blank], cloth. Mystery novel featuring sleuth Roger Sheringham, the second published (in England in 1926). Slight lean, otherwise a fine copy in a very good to nearly fine dust jacket with a short closed tear (20 mm) to the upper left front panel, tiny tear at lower right corner tip and mild shelf-wear to the head of the spine panel, some portions of the orange ink of the spine panel are a bit faded. Publisher's wrap around band is present. An attractive copy of a scarce book in jacket. (17960) [Attributes: Hard Cover]

      [Bookseller: John W. Knott, Jr, Bookseller, ABAA/ILAB]
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        WOODCUTS

      London: Longmans, Green and Co, 1930. Limited to 450 copies signed by Clare Leighton, this no. 343. Very minor rubbing and with light spotting to the endpapers, else quite sound and bright, a nice copy. Limited to 450 copies signed by Clare Leighton, this no. 343. Tall quarto. xviii, 36 leaves with tipped-in woodcut of various sizes, 1 plate with four smaller cuts, 1 with two. Each plate with leaf preceding with legend. Tiny plate of a mouse at end. With an introduction by Hilaire Belloc. Bound in publisher's brown cloth with gilt spine titles and woodcut mounted on upper cover. This copy additionally inscribed and signed by Leighton on flyleaf.

      [Bookseller: First Folio]
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        Aenne Biermann. 60 Fotos mit Einleitung von Franz Roh "Der literarische Foto-Streit".

      Klinkhardt & Biermann,, Berlin, 1930 - Berlin, Klinkhardt & Biermann, 1930. 11 S. + 60 Tafeln + 6 S. OBrosch. EA. Ein Band, der zwei Erschienenen, dieser auf acht Bände geplanten Reihe. - Fototek, 2. - Exlibris a. V., V. u. Schn. stockfleckig, Ebd. berieben, innen gut. Leichte Gbrsp. - Biermann, (geborene Anna Sibylla Sternefeld, 1898-1933), wurde als drittes Kind einer jüdischen Fabrikantenfamilie geboren. 1920 heiratete sie Herbert Biermann, einen Sohn des Kaufhausbesitzers Max Biermann († 1922) und zog zu ihm nach Gera. Das Paar hatte zwei Kinder. Als Autodidaktin kam sie Anfang der 1920er Jahre zur Fotografie. Zunächst fotografierte sie im familiären Rahmen; der Geraer Geologe Rudolf Hundt bat sie schließlich, scharfe und detailgenaue Fotos der von ihm gesammelten Gesteine zu machen. Im Laufe weniger Jahre professionalisierte sie ihr Schaffen immer mehr, wobei sie sich der Stilrichtung des Neuen Sehens verpflichtete. Ihr Werk umfasst Sachaufnahmen sowie die Sujets Porträt, Landschaft und Stillleben. 1930 fand in Jena die erste größere Ausstellung ihrer Werke statt. Charakteristisch für ihr Werk sind Makroaufnahmen von Personen und Gegenständen. Wie Lucia Meholy, Florence Henri und Germaine Krull war Biermann auf internationalen Fotoausstellungen der frühen 1930er Jahre vertreten. Mit 34 Jahren starb Aenne Biermann im Januar 1933 - wenige Tage vor der Machtergreifung der Nationalsozialisten - an einem Leberleiden. Die nationalsozialistische Verfolgung und Enteignung ihrer Angehörigen erlebte sie nicht mehr. Ihr Mann und die Kinder konnten nach Palästina emigrieren. Ihr etwa 3000 Negative umfassendes Archiv wurde in Triest beschlagnahmt, nach Deutschland zurückgeschickt und gilt seit dieser Zeit größtenteils als verschollen. (Zitat) Deutsch [Attributes: Soft Cover]

      [Bookseller: Antiquariat Weinek]
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        Memoirs of An Infantry Officer.

      Faber & Faber, 1930. - Hardback in very good condition, original blue buckram, spine lettered in gilt, top edges gilt, other edges untrimmed, some fading to spine; no dustwrapper. LIMITED EDITION, printed on English handmade paper and limited to 750 numbered copies, copy number 673. SIGNED BY SIEGFRIED SASSOON, First Edition, pp. 334, Sassoon's famous book about the reality of army life during WW1. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Deeside Books]
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        Malaises

      J, Terquem, 1930. - In-4, en demi-vélin à bande, dos chargé d’une bande de maroquin couvrant tout le dos, frappé en lettres d’or « Gus Bofa. Malaises » (Reliure art déco). Couverture et dos conservés, tranche de tête dorée. Exemplaire enrichi d’un ENVOI AUTOGRAPHE signé de Gus BOFA et d’un beau et grand DESSIN ORIGINAL au crayon intitulé « Synthèse », représentant un oiseau en cage chantant l’arrivée du printemps (dessin inédit). 48 compositions en pleine-page reproduites en fac-similé et une eau-forte originale en deux tirages. Edition limitée à 583 exemplaires ; un des 529 exemplaires sur vélin du Marais (41/540), N°165. Dessins, eau-forte et préface de Gus Bofa. Bel exemplaire en reliure d’époque enrichi d’un dessin original de l’un des ouvrages les plus troublants du grand Gus Bofa. [Attributes: First Edition; Hard Cover]

      [Bookseller: L'Oeil de Mercure]
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        Still life of hydrangeas in a nautilus-shaped vase

      1930. Huxley, Aldous. Gouache on canvas measuring 25 by 21 1/4 inches (635x540mm). Framed. Signed in the upper left corner. A still life depicting blue hydrangeas held in a vase in the shape of a nautilus shell. The vase sits upon a table, its base surrounded by artfully arranged fabric, with mauve drapery hanging in the background. Best known as the author of Brave New World and The Doors of Perception, Aldous Huxley was also a great lover of art. He wrote numerous articles on the subject, and the visual arts make their way into several of his books. He began drawing and painting as a student at Eton, and even after an illness as a teenager left his vision impaired, Huxley continued to produce art for most of his life. His most prolific years were in the 1930s, when he broke from writing to paint, noting, "I'm taking a holiday from writing in painting in oils...a most exhausting process, I find, but extraordinarily pleasure-giving" (Bedford 247). Huxley's subjects included portraits of his family, landscapes, and still lifes, which he took great pains to arrange. In a letter to his father, he wrote, "Painting is obviously the most delightful of the arts to practise. There is the intellectual pleasure of composing your picture, and the semi-physical pleasure of using your hands skillfully. Furthermore the problems (if you dont [sic] paint elaborate subject-pieces) are purely internal to the work of art--problems of relations within the picture and of relations to the object represented. You dont [sic] have to bother yourself, as in literature, with ethics, politics, sociology, psychology and all the rest. It's a small closed universe with its own private laws" (Letters 361). In some ways, Huxley was more confident in his ability as an amateur painter than he was in his professional career as an author, which he expressed in a letter to Robert Nichols: "The Zeitgeist is a most dismal animal and I wish to heaven one cd [sic] escape from its clutches. There wd [sic] be more chance of doing so, I think, in an art which wasn't really one's own, an art one practised en amateur and for fun" (Letters 374). It does not appear that he ever considered exhibiting his artwork, and most of his pieces remained with his family (AHA 70). The canvas is framed in gold-painted wood with a cream cloth mat. The verso of the canvas stamped Lechertier Barbe Ltd. Painting shows a hint of craquelure, but otherwise the painting and frame are in fine condition. (Bedford, Aldous Huxley: A Biography; Letters of Aldous Huxley; Aldous Huxley Annual, Vol. 10/11).

      [Bookseller: Bromer Booksellers]
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        Reliefpanorama des Rheinlaufs von Duisburg bis Emmerich.

      - Aquarell mit Deckfarben über Bleistift, sign. v. J. Ruep, um 1930, 63 x 30 (H) Das Blatt ist unten links signiert "J. Ruep". Der Betrachter blickt von Süden über die Hafenanlage von Duisburg hinweg nach Emmerich. Mittig die Stadt Wesel. Gebiet Kleve, Emmerich, Wesel, Duisburg, Moers, Rheinberg, Xanten. - In leuchtenden Farben, auf Karton montiert und mit Legende auf Transparentpapier. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Antiquariat Nikolaus Struck]
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        Advertising Broadside for F. G. Jackson's "A Thousand Days in the Arctic."

      Color printed folio sheet, 11 1/2 x 18 3/4 inches. This looks to be an an advertising broadside - probably circa 1930 - for a reissue of Jackson's classic Arctic account, first published in 1899. However, I can find no record of such a reprint. Aside from the English and American editions of 1899, there are only modern POD editions, and one university press printing, none of which employ graphics anything like the image used here. Hence, I deduce this is an advertisement for a book that never got published. Fine condition, and scarce.

      [Bookseller: Ten Pound Island Book Co.]
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        Aintree. Grand Nationals - Past and Present

      New York: The Derrydale Press, 1930. Deluxe Issue, no. 17 of 50 copies, signed by Brown on the half-title and with a full page pen-and-ink drawing, signed and dated by Brown. Illustrated by the Author and from photographs. Introduction by Henry G. Vaughn, M.F.H. 191 pp. 1 vols. 4to. Bound in full red morocco with gilt-stamped emblematic tooling. Partially unopened. Textblock somewhat toned. Faint dampstains at outermost half-inch of top and fore-margins, most noticeable at first and last few leaves, lighter elsewhere in the book. Light rubbing to joints and corners, faint staining to upper cover. Bookplate of sportsman Harry Worcester Smith (1865-1945). Half red morocco slipcase and chemise. Brown, Paul. Deluxe Issue, no. 17 of 50 copies, signed by Brown on the half-title and with a full page pen-and-ink drawing, signed and dated by Brown. Illustrated by the Author and from photographs. Introduction by Henry G. Vaughn, M.F.H. 191 pp. 1 vols. 4to. Deluxe Issue, with Original Drawing. The beautiful deluxe issue of this classic of steeplechasing, with the bookplate of first owner Harry Worcester Smith, famous sportsman and well-known sporting author. The original drawing, of riders along the sidelines of the race, appears as an illustration at p. 104, in the printed book, with the caption "Some led, some ridden, they stop pathetically to watch the race". Siegel 35; Frazier B-17-D; Podeschi, p. 375

      [Bookseller: James Cummins Bookseller]
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        Foxhunting Formalities

      New York: The Derrydale Press, 1930. ONE OF FIVE COPIES. Illustrated by Paul Brown. 54, [4] pp. 1 vols. 8vo. Original quarter red morocco, marbled paper sides, t.e.g., others uncut, by Stikeman. In a handsome red morocco-backed slipcase and chemise. ONE OF FIVE COPIES. Illustrated by Paul Brown. 54, [4] pp. 1 vols. 8vo. With a xerox of a TLS from Reeve to Connett asking for 5 copies at $3.00 per to be specially bound up ass per this item, with Connett's notes on shoulder to send 5 copies to Stikeman. Provenance: Don Frazier. Siegel 37; Frazier R-4-D

      [Bookseller: James Cummins Bookseller]
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        Typed Letter Signed, large 4to, San Francisco, March 27, n.y. Although undated as to year, this letter, to Mr. Reginald Poland, Director of The Fine Arts Gallery, San Diego (1925-1950), was written in 1931

      Rivera discusses future exhibitions and current work. Diego Rivera arrived in San Francisco with Frida Kahlo in November of 1930 and went to live with Ralph Stackpole, the American sculptor, painter and muralist at 716 Montgomery Street, a locale that began a social center for the artistic community in San Francisco. They lived at that address with Stackpole until they left San Francisco in June of 1931. Rivera thanks Mr. Poland for his interest in Rivera's work and discusses the possibility of an exhibition in San Diego. "Thank you for your interest… I took the matter up with Mr. Rollins of the California Palace of the Legion of Honor and tried to arrange for an exhibition in San Diego. But it was impossible because almost the entire exhibit was loaned…." Rivera then tells his correspondent that he is sending "aquarelles and drawings" to the Detroit Institute of Fine Art and that he is returning to Mexico to "complete my work in the National Palace in Mexico City" and hopes to then arrange for an exhibition in San Diego "in the Fall." "In the year leading up to the retrospective at the Museum of Modern Art [1931]… November 1930… an exhibition at the California Palace of the Legion of Honor welcomed him to San Francisco." This was his first large-scale exhibition in the United States and Lloyd LaPage Rollins' first exhibition as Director of the California Palace of the Legion of Honor. Rivera's visit to San Francisco in 1930 resulted in murals he did for the City Club of the San Francisco Stock Exchange and a fresco at the California School of Fine Art. In 1931, the Museum of Modern Art in New York did a retrospective of Rivera's work. Later that year, Rivera returned to Mexico, but came back in six months to begin perhaps his best known American murals in the Detroit Institute of the Arts. In 1934, Rivera was in Mexico working on the mural in the Palace of Fine Arts in Mexico City, and the murals in the National Palace were completed in 1935. It was not until then that he finally exhibited in San Diego. The San Diego Fine Arts Gallery changed its name to the San Diego Palace of Fine Arts during the California-Pacific International Exposition, held at Balboa Park from May 29, 1935 until September 9, 1936. During the second year, Diego Rivera's murals were exhibited at the Exposition.

      [Bookseller: Schulson Autographs]
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        Variété II

      first edition on the current paper.Precious autograph signed Leon Daudet: "To Charles Maurras, his admirer and accomplice." Nrf Paris 1930 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Drift

      Eric Partridge, Ltd., London - 1930. First edition of Hanley's first book. Octavo blue cloth. Light sunning to the lower tip of the spine else fine in a near fine dust jacket which has just light fading to the spine and light wear to the upper spine tip. An unusually nice copy, rare in the dust jacket. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Literary Lion, ABAA]
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        WETTERSTEINGEBIRGE. "Vorfrühling am Wagenbruchsee mit Blick auf das Wettersteinmassiv".

      - Aquarell von Carl Kessler, links unten signiert, um 1930, 35,5 x 50,5 cm. Thieme-Becker Bd. XX, S. 210. - Der Münchner Landschaftsmaler wurde 1876 in Coburg geboren. Er studierte an der Münchner Akademie bei Karl Raupp. Bekannt sind seine alpinen Landschaftsaquarelle. - Im Himmel gering gebräunt. Gerahmt. [Attributes: Signed Copy]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        The Annalist: A Journal of Finance, Commerce and Economics, 1930 (entire year of 52 issues bound into 4 volumes)

      The New York Times Company, New York, 1930. Hardcover. Good Condition/No Dust Jacket. Size: Elephant Folio - over 15" - 23" tall. Ex-Library. Small number written in pencil in upper-right corner of first page of each issue. Sunning to spine. Library binding - call number marked on lower spine. Light foxing to edges of text-block. Light tanning to edges of text-block. Top edge gilt. Black & white illustrations. Library bookplate on front pastedown. Date stamp on first page of each issue. Perforated stamp on first page of each issue. Boards bumped and worn at corners, edges and spine ends. Boards lightly scratched and soiled. Vol. 35: Jan-Mar; Vol. 35: Apr-June; Vol. 36, No. I: July-Sept; Vol. 36, No. II: Oct-Dec Quantity Available: 1. Pictures of this item not already displayed here available upon request. Inventory No: 145865.. Additional shipping may be required for this item, please inquire..

      [Bookseller: The Dusty Bookshelf ]
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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. The Cocktail Recipes in this Book have been compiled by Harry Craddock of the Savoy Hotel London. The decorations are by Gilbert Rumbold. Octavo. Original decorated boards with black cloth spine, title block to spine gilt, original decorative endpapers, top edge gilt. Housed in a full morocco black solander box by the Chelsea Bindery with the title block to spine and front board silver and pictorial block to front of a cocktail copied from one of the illustrations. Spine is slightly bumped, very small chip to the headcap, boards a little faded, previous owner's inscription to front endpaper and dedication page, some light scattered foxing, a very presentable copy of a scarce book. First Edition. Signed Limited Edition. Number three of an unspecified number of copies specially bound, numbered and signed by the author. Additionally inscribed in Craddock's hand: "For my Wife.

      [Bookseller: Peter Harrington]
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        Uns nährt die Erde - Les Nourritures Terrestres - Sonderdruck 5/150 - Handeinband der Buchbinderei Carl Schultze, Düsseldorf - Handeinband, Meistereinband

      Deutsche Verlagsanstalt, Stuttgart, Berlin, Leipzig 1930 - Uns nährt die Erde wurde am 1. Mai 1930 im Haus Morp in Erkrath einem geladenen Kreise von Hans Prinzhorn zum ersten Male vorgelesen, nachdem er am gleichen Tage mit André Gide in Bonn die letzte Hand an die Verdeutschung gelegt hatte. Zum Andenken daran ließen Hans Prinzhorn und Paul Multhaupt diesen Sonderdruck für Freunde in 150 Stück herstellen. Dies ist Nr. 5. Gebunden bei Buchbinderei Carl Schultze, Düsseldorf. 235 S. Grüner Ledereinband, Rücken mit Goldprägung und 5 Bünden. Einband und Rücken minimal lichtrandig, sauber, Schnitt etwas angebräunt, sauber, Seiten leicht angebräunt, sehr wenig lichtrandig, sauber, Gesamtzustand gut. (Paul Multhaupt, 1884-1933, Industrieller, Sammler und erster Mäzen Anton Räderscheidts in der Schaffensperiode der Neuen Sachlichkeit. Früherer Vorstandsvorsitzender der Schloemann AG, heute SMS Schloemann-Siemag AG, Düsseldorf.) Size: 8° [Attributes: Hard Cover]

      [Bookseller: Verlag IL Kunst, Literatur & Antiquariat]
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        MOSEL. Reliefpanorama der Mosellaufs mit den Städten als Vogelschauansichten.

      - Bleistiftzeichnung, der Fluß blau aquarelliert, aus dem Atelier von J. Ruep, um 1930, 40 x 50 cm. Zeigt das Gebiet zwischen Bad Bertrich, Ulmen, Düngenheim, Münstermaifeld und Mörsdorf. Im Zentrum die Mosel zwischen Aldegund und Burgen mit Cochem im Mittelpunkt. - Auf Leinwand aufgezogen, gut erhalten. [Attributes: Hard Cover]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Collection of "Nonsense" newspaper clippings and other printed ephemera, assembled by Ludwig Wittgenstein.

      Various places: Various printers,, 1930s. Wittgenstein's "Nonsense": A collection of 127 newspaper clippings, articles,advertisements and other printed ephemera, housed in archival folders, preserved in an archive box. In excellent condition. Wittgenstein's preoccupation with clarity of meaning, or Bedeutung as he called it in German, is evident in his work from an early stage. In his correspondence with friends and with fellow academics such as Bertrand Russell, he often discusses the need for precision of language and meaning. But he was equally aware and appreciative of the flexibility of language and its interpretation. Students of Wittgenstein's life are well aware of his love of American cinema and detective magazines as a way of relaxation. Often, after his lectures he would rush off to the cinema to sit in the front row to lose himself in a cowboy western, and he writes appreciatively to Norman Malcolm of the Street and Smith detective magazines Malcolm would send him from America. But perhaps his students are less aware of Wittgenstein's love of Nonsense conversation or correspondence. Brian McGuinness notes that "His preferred relaxation was to talk nonsense by the hour" with his friend Roy Fouracre, or "blödern" as he called it when writing to his sister Helene. Likewise, his correspondence with his friend Gilbert Pattisson was filled with simple jokes, comic abbreviations, and "spoofs" of advertising jargon. According to McGuinness "There are jokes in his philosophical writings too, indeed he says that it would be possible to write a philosophical book consisting entirely of jokes. Nonsense might be called unconscious humour and jokes the conscious form of Nonsense" (In praise of nonsense, an article written for a Festschrift for Rosaria Egidi). In the 1920s it became apparent that one of the main tasks of philosophy was to distinguish between sense and nonsense and it is this that Wittgenstein's collection of printed Nonsense demonstrates. What may have begun as a simple exchange with his brother Paul of items of "Stiefel" or nonsense, spotted in the press or in weekly magazines, became a collection of not only light hearted or ridiculous pieces, but also of a much more serious nature. As McGuinness writes, "Looking through the collection, one can see how it mirrors his philosophy, how much of it is concerned with confusion of level, the temptation (not resisted) to say the inappropriate thing." This collection of printed examples of "Nonsense" collected by Ludwig Wittgenstein, preserved by Rush Rhees, one of his first literary executors, and subsequently by Professor Brian McGuinness, who together with Anna Coda Nunziante has prepared a list and analysis of its contents, is of considerable importance. It remains to be fully studied in order to determine what this collection can further reveal of Wittgenstein's life and philosophy.

      [Bookseller: Peter Harrington]
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        The Golden Bough

      

      [Bookseller: Peter Harrington]
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        Dream Days [SIGNED]

      London: John Lane, The Bodley Head Limited, 1930. 1st Edition . Very Good Plus/Very Good. 6 x 9 inches (15 x 23 cm). Signed by Author. Slipcase: Original grey paper covered slip case with paper title label to front panel, label also has a hand written limitation number. Very slight bump to one corner otherwise excellent, no splits or tears. Overall case condition is Very Good Plus. Book: First Ernest Shepard illustrated edition. Large paper limited edition No. 209 of 275 copies printed on specially made rag paper. Signed by both the author and illustrator to the limitation page. Quarter vellum with marbled boards, top page edge gilt, other edges untrimmed. Very slight darkening to spine, light spotting to endpapers otherwise in first class condition throughout. An excellent example, complete with the original slip case. Overall book condition is Very Good Plus. Hardback. Printed pages: xii, 168

      [Bookseller: Tarrington Books]
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        THE PLANT INTRODUCTIONS OF REGINALD FARRER.

      London 1930, New Flora & Silva. White cloth, top gilt, 113p.. 12 color, 5 b.w. photos and a complete bibliography of all. books & papers by Farrer. R A R E. A LIMITED EDITION OF 500 COPIES, 450 OF WHICH ARE FOR SALE. LIMITED EDITON OF 500 COPIES, 450 OF WHICH FOR SALE With 12 Farrer paintings and a complete list of Farrer plant numbers of which the names have been determined. Farrer's naming & introduction of plants from the Kansu & Upper Burma expeditions was a great contribution to the botanic world. Originally planned as a small printed list of his plants, the work was enlarged to add Farrer's own notes & additional information on how the various plants grew in gardens. Done as a memorial volume directed to gardeners. With much focus on Farrer's notes on plants sent home from Kansu, with addi- tional notes on their horticultural value and behavior in gardens. Edited by E.H.M. Cox from information supplied by Mr. R. L. Harrow, Mr. K. Mcdoual, the Hon. H. Mclaren, Mr. Lionel de Rothschild and others. A very important and scarce primary resource for plants from the Ahkyang Valley. The Farrer-Purdom Expedition to Kansu 1914-1915 is herein care- fully outlined in much detail. The Farrer Expediditon to Upper Burma 1919-1920 is also illucidated in much detail, this was Farrer's last, as he died at Nyitadi and was car- ried down the Ahkyang valley to Kwanglang Po [Konglu] his grave is tended by Nung headman. Therefore this is the last writings by Farrer, and documents new plants he discovered: Rhododendrons, Coffin Tree, Berberis, Aralias, red lilies, Magnolias, primulas and so many others which are outlined & illustrated here. A most valuable and precious resource, seldom found on the marked due to its very Limited Edition of only 450 copies for sale. PRIZED BY BOTANICAL LIBRARIES & COLLECTORS ALIKE ! A L W A Y S R A R E ! ! Color scans can be sent by email. Images displayed may not always be the exact photo of the copy in stock for sale at any given time. If you want to see the exact image of the book or edition in stock today, please request this by email. . Photos of most of our books are posted to our .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        Photo Album]: Family Album including Photographs of a Free French Children's Nursery in England

      England 1930 - Oblong quarto. Measuring 9.5" x 12.5". String-tied cardboard photo album. A collection of 170 sepia toned or black and white gelatin silver photographs, measuring between 1.5" x 1.5" and 6" x 8", affixed to stiff gray paper with some captions. The photographs are near fine with occasional creasing in a very good photo album with edgewear and lacking the cloth over the boards. A photo album assembled by Clara R. Wells, an English nurse, between the mid-1930s until 1945. The beginning of the album is of Wells's home life living near Ascot, England, including her two infant children and various get-togethers, parties, and weddings with friends and family throughout the 1930s. The last few pages begin in the early 1940s, and continue well into World War II. During this time Wells was a nurse working at the Free French Nursery in Ascot, roughly 25 photographs show the nursery. Wells was part of the AVF, (Amis des Volontaires Francais -- Friends of the French Volunteers), which was established after the French defeat and occupation by Germany in 1940. According to Nicholas Atkin, "the AVF aimed to establish a link between organizations and individuals who wished to extend moral and material aid to the French Volunteers and also assisted French Forces fighting for the Allied cause. The latter would include setting up of canteens, hostel facilities and clubs for French troops and French civilian evacuees in Britain." For her part Wells volunteered as a nurse for the children of the French Volunteers who were sent to England. She cared for the children, threw them parties, and attempted to keep their spirits up and them safe until their parents could return. Among the images captured is a young nurse with a group of children and a pony in and around the grounds of the hospital, as well as a group photo from story time and another of children, a clown, and some soldiers from a "Canadian party." Also included are magazine clippings about the nursery, Wells's employment registration form, her nursing diploma, a letter from the National Society of Children's Nurseries, and two letters from a head nurse at another AVF operation asking her to come back because Wells is more experienced than the nurses currently on duty. In the letter dated November 3, 1943 she writes: "I simply must have a night nurse; the staff here is too inexperienced to be taking night duty in turn. we are having six babies in Christmas time. I would love to have you back." A magazine clipping, with pictures taken from Wells's photography, is captioned, "young sons and daughters of parents serving in the French forces at the French war-time nursery in the home countries." Due to internal conflicts between the British and the French the AVF dissolved shortly before the war's end.A modest but interesting collection from a little-know branch of World War II volunteer service that is often overlooked. [Attributes: Soft Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Photographs]: New Jersey Infrastructure and Transportation Reference Photos

      New Jersey 1930 - A collection of 217 photographs from PSEG (Public Service Enterprise Group) printed in the 1930s measuring between 5" x 7" to 8" x 10", most with captions. All photos about near fine with some original envelopes and negatives. PSEG was formed in 1903 after the merger of numerous smaller energy companies and firms throughout New Jersey. These prints, created in the 1930s, are taken from a variety of sources from the early days of the company and its sister companies starting in the late-1800s to promote the new face of the New Jersey power company. They show towns and companies throughout New Jersey, some after natural disasters, roads, buildings, public transportation, and company baseball games. Companies shown are the Newark Gaslight Company founded in 1845, United Electric Company of New Jersey, and Citizens Gaslight Company founded in 1870, these and numerous other branches of small New Jersey area power companies combined to form what is now PSEG. One photo of a group of men taking the field in baseball uniforms is captioned, "first field day meet of the P.S. Railway May 20, 1913 - Hilton Oval." Another photos shows downed power lines and reads, "Elizabeth - E. Grand St. and Jefferson Ave. Pole line result of storm March 1, 1914." The same storm is captured in a photo from Plainfield showing "P.S.E. wires in good shape," while "Western Union Line down." A photo depicting a horse drawn car that reads "Belleville & Cemetery" on the side is captioned, "driver - Mr. James J. Noonan 1884 - Jimie had more claim to fame than merely as chauffeur of the deluxe equipage he was the backstop for the old Woodstock's baseball team and a hero to all the kids of the Woodside section and Belleville." An extensive collection of photographs depicting the first few decades of the 20th Century in New Jersey and the early days of PSEG.

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Die Weltmeisterschaftsbälle - Alle original Fußbälle von 1930 bis 2010 - Kunstedition mit Buch.

      - Nie zuvor wurden die originalen Weltmeisterschaftsbälle komplett fotografiert, nie zuvor mit fotoästhetischer Perfektion und Liebe porträtiert. Die Künstler und Autoren haben dazu fast ein dutzend Länder bereist, über drei Jahre hinweg recherchiert, ein Jahr geplant, entworfen und produziert und dieses wunderbare, limitierte Werk herausgebracht. Die Kunst-Edition besteht aus 7 hochwertigen Pigmentabzügen der Weltmeisterschaftsbälle von 1930, 1954, 1966, 1974, 1986, 1998 und 2006 im Format 33 cm mal 33 cm, auf Hahnemühle Fine Art Papier 285 gr, in Museumsqualität angefertigt. Das heißt, sie sind besonders lange haltbar und die Oberfläche edel. Die Pigmentabzüge sind alle vom Fotografen Jens Heilmann handsigniert. Das Buch wurde auf einem besonders veredelten Naturpapier im hochwertigen Offsetdruck gedruckt, dann mit großem Aufwand zu einer sogenannten Schweizer Broschur verarbeitet (fadengenäht und verleimt, mit offenem Rücken), weil sich diese Form des Buches leicht blättern lässt. Die Naht darf gern an Ballnähte erinnern. Der Buchdeckel nimmt das Material der Schachtel noch einmal auf. Die Fotografie der Bälle ist aufwändig, wirkt aber schlicht und unspektakulär. Die individuelle Geschichte der Bälle, ihr oftmaliger Wechsel von einem Besitzer zum anderen, ihre technischen Besonderheiten wurden mit größtmöglicher Detailtreue recherchiert und aufgeschrieben. Materialwahl und Verarbeitung, Form, Grafik. Texte und Fotografie sollten eine Einheit bilden und zur Ausstrahlung der Bälle passen. Diese haben mit der Zeit eine schöne und schlichte Patina erhalten. Ähnlich verhält es sich mit diesem Buch. Der Einband ist empfindlich und es wird ein vorsichtiger Umgang empfohlen, insbesondere, wenn das Buch weiterverschenkt werden soll. Zu diesem Zweck sind Baumwollhandschuhe beigelegt. Die Bücher haben einen Umfang von 60 Seiten und 33x33 cm und sind handnummeriert. Die Schachtel ist eine hochwertige Buchbindearbeit aus Karton und Holz. Das Obermaterial ist gesiebdruckt und erinnert an die Oberfläche eines Balles. Glatt und trotzdem griffig, edel, kühl, schön in der Hand zu halten. DEUTSCHE AUSGABE. Zustand: A 3500 gr [Attributes: Signed Copy; Soft Cover]

      [Bookseller: AGON SportsWorld GmbH]
 42.   Check availability:     ZVAB     Link/Print  


        AFRICA Orientale - Etiopia. Album degli anni 1930/1940 in tela dell'epoca con 240 fotografie originali di vari formati.

      Album degli anni 1930/1940 in tela dell'epoca con 240 fotografie originali di vari formati. Ogni fotografia ha una didascalia manoscritta a china con le indicazioni. Fotografie di Gondar verso Azazà; Gondar panorama e Tempio di Leudelà; Asmara, Strada per Massaua, Via del re; Molo di Massaua; Piroscafo Urania; Laghetto di Atri; Mercato di Gondar; Indigena che fabbrica il burro; Gondar, Chiesa Copta; Burrone delle Lavandaie; Villaggio indigeno il Caffè; Ruderi delle prigioni di Fasilide; Abitazione del Prete; Castello principale di Fasilide; Tempio di Quosquam; Arrivo del S.E. Terruzzi a Gondar (Ministro delle Colonie dal 1939 al 1943); Gondar posa della pietra della cattedrale; Il Semien; Uorch Fit Monumento ai caduti; Adi Arcai; Ponte di Tacazzè; Veso Adua; Monumento ad Ivo Olivetti; Un moccioso di Axum; Axum Obelisco; Adua nuova piazza; Ponte sul Mareb; Asmara, Mercato indigeno e moschea... Axs

      [Bookseller: Libreria Bongiorno Paolo]
 43.   Check availability:     maremagnum.com     Link/Print  


        Contes De Boccace. Ornés De 45 Eaux-Fortes Originales En Couleurs et De 100 Dessins En Noir Par André Collot.

      Paul Cotinaud, Paris 1930 - 343 - 309 y 292 págs. Sumamente ilustrado con 45 láminas, aguafuertes originales a color, y dibujos en el texto. Edición de 300 ejs. numerados sobre buen papel de hilo. Encuadernación a media piel con puntas. Lomeras con nervios y tejuelos. Muy buen ejemplar. Size: 3 Vols. De 25 x 20 Cm. [Attributes: First Edition; Hard Cover]

      [Bookseller: BALAGUÉ LLIBRERÍA ANTIQUÀRIA]
 44.   Check availability:     AbeBooks     Link/Print  


        Der Tod des Tizian[. Idylle[. Zwei Dichtungenn[. 61[.-68[. Tsd[.

      Insel-Verlag, (um 1930)., Lpz., - 8°. 39 (1) SS. Orig.-Pp. mit graphisch gestalt. Bezugspapier, mont. Titel- und Rschild. Kästner 8; Jenne Ü 6. - Papierbedingt leicht gebräunt. Klammerheftung leicht gerostet. Kapitale leicht berieben. Rücken und Rschild gebräunt. Rücken tls. verblasst. Gewicht in Gramm: 0

      [Bookseller: Antiquariat Lutz-Peter Kreussel]
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        Cocktails.

      Philadelphia: David McKay Company,, [1930]. Small octavo. Original yellow cloth-backed black boards, spine lettered black, front board lettered gilt and decorated with a martini glass in gilt, yellow endpapers, top edge yellow. With the dust jacket. Spine gently rolled, faint finger-marking to front free endpaper. An excellent copy in a lightly edge-chipped, scuffed and spotted jacket. First edition, first printing of this book, uncommon in the jacket, of cocktail recipes from the exclusive London club, Ciro's. It opened on Orange Street as a private club in 1915, and was renowned as one of the first London venues to host an all-black band. This very attractive little book features an early appearance of the Pegu Club cocktail, as well as the contested White Lady - the creation of which is claimed by two Harrys: Harry Craddock of The Savoy, and Harry MacElhone (later of Harry's New York Bar fame) during his stint at Ciro's in London in 1919. The precise identity of the bartender "Jimmy" remains unknown, though it is very possible that he is Jimmy Charters, bartender of the Dingo Bar in Paris and Ciro's in Monte Carlo. All the recipes are easily replicated without special equipment, so that (somewhat questionably) "even a child of five may prepare his (or her) favourite beverage without the necessity of running to ask daddy: 'Please, what is a jigger?'

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


        Illustrated Map of the Route of Transcontinental Air Transport, Inc (Cover title: Coast to Coast by Plane and Train)

      Transcontinental Air Transport Inc.. 1930.. Color pictographic / pictorial map, 14 x 31 inches on sheet size 15 x 31 3/4 inches, folding as issued to 7 3/4 x 4 1/8 inches, text and route map on verso, folding into gilt-lettered decorative embosssed boards. Small spot at lower left of map, otherwise very good condition. Couple of spots to front cover (scarcely noticeable). A handsome map showing the route of Transcontinental Air Transport, TAT, founded in 1928 and merged with Western Air Express in 1930, becoming TWA. The decorative border features vignette illustrations of cities and landmarks found along the TAT route. Verso includes "Certificate of Flight" (not filled in). .

      [Bookseller: oldimprints.com]
 47.   Check availability:     Biblio     Link/Print  


        Die Rotte (Roman; ein männlich rauhes Buch) 1. dt. Ausgabe

      Gießen, Kindt & Bucher 1930 - 206 S. übs. Hans Dietrich Disselhoff 8° Orig.pappband, Orig.Umschlag, gering staubig, leichte Gebr.spuren, Vorsatz Fingerfleck, sonst gutes Ex., ÄUßERST SELTEN Mariano Azuela (* 1. Januar 1873 in Lagos de Moreno, Jalisco; gest. 1. März 1952 in Mexiko-Stadt) war ein mexikanischer Arzt und Schriftsteller. Azuela studierte Medizin an der Universidad de Guadalajara; nach erfolgreichem Abschluss wurde er 1899 als Arzt zugelassen. Politisch interessiert nahm er an der Revolution teil und kämpfte unter Führung von Francisco Madero gegen Porfirio Díaz. Für einige Zeit leitete Azuela dabei auch die Verwaltung seiner Heimat Lagos de Moreno. Nach der Ermordung Maderos legte Azuela 1913 alle seine Ämter nieder und schloss sich Pancho Villa an. 1915 flüchtete er nach El Paso (Texas) und arbeitete dort u.a. als Journalist. Zwei Jahre später kehrte er mit seiner Familie in die Hauptstadt seines Landes zurück und arbeitete dort dann zeit seines Lebens als Arzt. Azuelas großes umfassendes Thema ist die mexikanische Revolution. Sein bei weitem berühmtester Roman "Los de abajo" (dt. Die Rotte) entstand 1915 als Fortsetzungsroman für das Feuilleton der in El Paso erscheinenden, spanischsprachigen Zeitung El Paso del Norte. Im Folgejahr wurde er auch in Buchform publiziert. Bereits kurz nach Erscheinen wurde er vielfach übersetzt und eine bemerkenswerte Verfilmung von Regisseur Chano Urueta war unter demselben Titel ab 1. Juni 1940 in den Kinos zu sehen. Bei Los de abajo verzichtet Azuela auf historische Genauigkeit. Vielmehr besticht sein Werk durch schnellen Szenenwechsel und lebendige Bilder, mit denen er ein beeindruckendes Bild der revoltierenden Horden zeichnet. Dieser Roman gilt bis heute als bedeutendster der weit über 200 Revolutionsromane. [Attributes: Hard Cover]

      [Bookseller: ANTIQUARIAT H. EPPLER]
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