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

        Monsieur Thorpe

      First edition, one of 20 numbered copies on Japan, deluxe edition.Nice copy.Provenance: Léon Aichelbaum library with his bookplate pasted the head of a guard. Editions Lemarget Paris 1930 13x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        His Monkey Wife or Married to a Chimp

      London: Peter Davies,, 1930. Octavo. Original pink cloth, titles to spine gilt. With the dust jacket. Spine slightly sunned, a little fading to board edges, faint toning to contents. An excellent copy in the jacket with faded spine, some chips to spine ends, short closed tear to head of front panel, rear flap separated at fold, some nicks and shallow chips to extremities. First edition, first impression of the author's first book. Presentation copy, inscribed by the author to Edward W. Titus, the Parisian bookseller and publisher, on the front free endpaper, dated March 1931. Collier includes a quote from A Midsummer Night's Dream, "All that I have to say is, to tell you, that the lantern is the moon ; I, the man in the moon; this thorn-bush, my thorn-bush; and this dog, my dog" (Act V.I).

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


        Tour of the World. Vol. I bis Vol. VIII. 400 numerierte auf Kartons gezogene Stereophotographien im Querformat 9 x 17,7 cm, mit rückseitigen Erläuterungen, in vier Kassetten. Dazu: Locating Maps für use with A Trip around the World throughout the Stereoscope with Burton Holmes.Three folded Maps: The World, New York City, and Washington DC. (Stereographic Library)

      Meadville, PA: Keystone View Company, um 1930. - 19 x 18 cm, 4 Original-Halblederkassetten, jede als Doppelband gestaltet mit goldgeprägten Rückentiteln, die je eine Box mit 100 Photos enthalten. Mit dazugehörigem Betrachter. Die Weltkarte verzeichnet die Reiseroute sowie die Reihenfolge der Aufnahmen mit Angabe der Photo-Nummer. * * * -Leinenbezüge der Kassetten etwas unattraktiv und fleckig, Rücken noch gut erhalten. Die Weltkarte mit kleinem Einriß, der Betrachter und die Photos tadellos erhalten. Sprache: Englisch Gewicht in Gramm: 7900

      [Bookseller: Matthias Severin Antiquariat]
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        Anabasis: A Poem by St. J. Perse. Translated by T.S. Eliot

      London: Faber & Faber, 1930 - First Edition. One of 350 numbered copies signed by Eliot. A near fine copy in a very good, stained and rubbed publisher's slipcase. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter L. Stern & Co., Inc., A.B.A.A.]
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        Corps et biens

      First edition, review copy.Binding in morocco half mustard, back with five nerves, marbled paper plates, guards and contreplats brown paper covers and backs (insolated) preserved, gilt, signed binding Goy P. & C. Vilaine.Precious autograph signed by Robert Desnos Colette Clement he accepts with humor the name: "To Madame Colette Clement / Clement Marot non Jacques Clément (these words crossed out) / no / tribute to the author Robert Macaire."Bookplate pasted the dedicatee below the justification of the draw. Gallimard Paris 1930 12x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Bungalow Mystery

      Grosset & Dunlap, 1930 The true first edition, first printing, Farah Guide 1930A-1. all With correct ads and lists. Very good in a very good dust jacket. Housed in a custom-made collector's slipcase. The third book in this classic and path-breaking series, issued simultaneously with the first two books.. 1st Edition. Hardcover. Very Good/Very Good.

      [Bookseller: Bookbid Rare Books]
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        N by E

      Random House,, New York: 1930 - Fine in decorated light blue cloth covered boards with a silver colored stamping of a compass rose on the front board and text and decorations stamped on the spine. This binding is absolutely unblemished! In its original plain blue dust jacket in very good condition with tanning to the spine area and a few closed tears all of which have been repaired with archival tape on the verso side of the jacket. Both the book and its dust jacket are contained within the original, very good+ dark blue, paper covered slip case which shows minor wear at its opening and one chip from the paper covering of 3/4" by 1/2". As noted on the rear page of text this copy has been numbered 572 out of only 900 copies printed. It is also signed on that page by the author. With extensive wood block illustrations by the author. The paper employed in the text is a special watermarked paper by Pynson Printers and completed in the month of November, 1930. A beautiful, tight, clean copy with no prior ownership markings of any kind. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Town's End Books, ABAA]
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        Autograph letter on a postal card signed in full to composer and musicologist Egon Wellesz

      - 1 page, ca. 85 x 135 mm. Postmarked Aachen, February [1]5, 1930. In blue ink. With a photograph of the Stadttheater in Aachen to verso. In German (with translation). Berg thanks Wellesz and his wife for their congratulations. "Many thanks for your and your wife's congratulations. I hope to see you again soon!"Very slightly soiled. Premièred at the Berlin Staatsoper on December 14, 1925, Berg's Wozzeck was not produced again in German until March 5, 1929 in Oldenburg. This extremely successful production, which was mounted after just thirty-two rehearsals, proved that provincial opera houses could, indeed, take on such an "unplayable" work. Between December 1929 and December 1930, seven other German opera houses staged Wozzeck. The well-wishes of Wellesz and his wife, to which Berg refers in this letter, were probably intended for the Aachen production, which was to occur on February 21, 1930.Egon Wellesz (1885-1974) was an Austrian composer, musicologist, and teacher. "His importance as a composer rests chiefly on his stage works and symphonies. While his creative career was divided between Vienna and Oxford, his musical style was unpredictable, showing his affection for beautiful melody often with wide leaps and angular in profile. As a musicologist, he did pioneer work on Byzantine chant." Caroline Cepin Benser in Grove Music Online.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        DEATH OF MY AUNT

      New York: Harcourt, Brace and Company, [1930]., 1930. First edition. First U. S. edition. Author's first mystery novel. Minor foxing to page edges and rear fly leaf, else a near fine copy in dust jacket with light wear to the spine ends and two small closed tears. The story concerns the events of four days and presents not only a problem in detective work, but it is also a study in the behavior of the murdered woman's relatives and dependents, whose lives are brought into sudden contact with a crime. Kitchin was a mainstream author, but is chiefly remembered now for this crime novel, the first of four with his stockbroker detective, Malcolm Warren. Julian Symons says of Kitchin's detective fiction, "there is a good deal of pleasure to be obtained from the always urbane and at times elegant writing." His four mystery novels are Death of My Aunt, Crime At Christmas, Death of His Uncle, and The Cornish Fox. Very scarce in dust jacket.

      [Bookseller: BUCKINGHAM BOOKS]
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        THE TALE OF LITTLE PIG ROBINSON

      

      [Bookseller: Lucius Books]
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        The Downfall of Great Russia and the House of Romanov]

      Union Parizh 1930 - Octavo. 545 pp.; a couple of leaves with marginal puncture and crease. Later amateur blue buckram spine over grey marbled boards; a bit rubbed. A very good copy. FIRST EDITION OF THIS IMPORTANT HISTORY OF RUSSIA IN THE AGE OF REVOLUTION. The author provides an in depth analysis of Russia in the lead up to 1917 and beyond, attempting to discover why and how the autocratic government collapsed. Key institutions, including the church and the military, are closely examined along with a range of other important factors in regime's downfall, from the political to the socio-economic. "A chronicle of events, based on historical archives, eyewitnesses accounts, and, since he was in the thick of it, his own memoirs" (Savine). Much of Krushenie velikoi Rossii is based on Russian archives in Paris that were subsequently destroyed during World War Two. The present work is described as volume one, but there were no others issued. Nazanskiy was a colonel in the Imperial horse artillery and the last assistant mayor of Moscow under the old regime. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        PRISME.

      1930 - Paris, Gallimard, 1930. In-12 (120 X 188) broché ; 382 pages. ÉDITION ORIGINALE. UN des 109 EXEMPLAIRES du tirage de tête réimposés au format IN-QUARTO Tellière sur papier vergé LAFUMA-NAVARRE (exemplaire «n°XXXII »). Exemplaire nominatif de M. Frédéric DUCHÉ parmi les cent numérotés en chiffres romains et réservés aux «Bibliophiles de la Nouvelle Revue Française ». L'ouvrage, composé comme un carnet mélant poésies, sentences, maximes et «divagations » sur l'art, la lumière, la science, etc., est préfacé par Élie Faure et dédié à la mémoire de la compagne du cinéaste, Ida Danis, qui devait décéder de la grippe espagnole alors qu'Abel Gance achevait le tournage de "La Roue", le 9 avril 1922. BEL EXEMPLAIRE broché, en PARFAIT ÉTAT. FINE COPY. PICTURES AND MORE DETAILS ON REQUEST. [Attributes: First Edition; Soft Cover]

      [Bookseller: LIBRAIRIE ERIC CASTERAN]
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        N by E

      New York: Random House, 1930. Signed limited first edition. Fine in decorated light blue cloth covered boards with a silver colored stamping of a compass rose on the front board and text and decorations stamped on the spine. This binding is absolutely unblemished! In its original plain blue dust jacket in very good condition with tanning to the spine area and a few closed tears all of which have been repaired with archival tape on the verso side of the jacket. Both the book and its dust jacket are contained within the original, very good+ dark blue, paper covered slip case which shows minor wear at its opening and one chip from the paper covering of 3/4" by 1/2". As noted on the rear page of text this copy has been numbered 572 out of only 900 copies printed. It is also signed on that page by the author. With extensive wood block illustrations by the author. The paper employed in the text is a special watermarked paper by Pynson Printers and completed in the month of November, 1930. A beautiful, tight, clean copy with no prior ownership markings of any kind.

      [Bookseller: Town's End Books]
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        Wetherill's Paint and Varnish Products. Especially Prepared for the Convenience of the Master Painter

      PAINT SAMPLE BOOK. Wetherill's Paint and Varnish Products. Especially Prepared for the Convenience of the Master Painter. Group of 15 brochures mounted in one salesman's sample. Tall 8vo., 228 x 118 mm, bound in original orange printed wrappers and new mylar protective cover. Philadelphia: Geo. D. Wetherill & Co., Inc., [ca. 1930]. |~||~||~||~| Salesman's samples from Wetherill & Co., one of the first American manufacturers of dye products, founded by Samuel Wetherill (1736-1816). The brochures are "Wetherwite, a Master White that Stays White"; "Trim Colors"; "Atlas Paint"; "Pigmented Primer"; "Reflectoflat"; "Floor & Deck Enamel"; "4-R Enamel"; "Semi Gloss Finish"; "Interior Gloss Finish"; "Atlas Metallic Paint"; "Atlas Oil Stain"; "Con-cre-co Floor Paint"; "Indestructible Green"; "Permanent Green"; and "Master Painters' Blind & Shutter Green." Slight damage to a couple of samples, but overall a fine copy of an unusual survival.

      [Bookseller: Ursus Rare Books]
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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: IL LIBRAIO]
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        The Name of Action

      London: William Heinemann,, 1930. Octavo. Original blue cloth, titles to spine gilt, frame to front board and publisher's device to rear in blind. Spine rolled, extremities lightly rubbed, tips bumped, a few small pale markings to boards, small dent to top edge of rear, very mild spotting to prelims. A very good copy. First edition, first impression, of Greene's second published novel.

      [Bookseller: Peter Harrington]
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        Tarzan at the Earth's Core

      Metropolitan, 1930 Very good first edition in a very good dust jacket. Very rare in original dust jacket, especially an unrestored jacket like this one (some tape reinforcement on inside of jacket but no restoration to the jacket itself). Original price of $2 still on front flap of the jacket. Metropolitan mentioned on the title page and no mention of later printings on the copyright page, signifying a first edition, first printing. St. John, J. Allen (illustrator). 1st Edition. Octavo. Publisher's green cloth boards with the front and spine lettered in black. Frontispiece and DJ illustrated by St. John. Comes in custom-made cloth slipcase.. 1st Edition. Hardcover. Very Good/Very Good.

      [Bookseller: Bookbid Rare Books]
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        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]
 27.   Check availability:     Biblio     Link/Print  


        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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        An Angler's Anthology. Collected by A.B. Austin. Illustrated from Drypoints by Norman Wilkinson.

      London: Country Life 1930 - LIMITED EDITION 17/100 signed by editor and artist with an additional original etching by Wilkinson tipped in (as issued) 4to. (29 x 22 cm.) pp.xix+168.Original white buckram with gilt border to sides and glt lettering to spine. A fine copy. Frontis. and 23 full page illustrations. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Robert Frew Ltd. ABA ILAB]
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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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        Pybrac (Pibrac). Quatrains

      Pour les Soeurs des Ursulines, Narbonne 1930 - In-8. 86 pages. Sans date, circa 1930. Exemplaire no. 178/165/231. Complet des 31 gravures couleurs dont 11 hors-texte. (Monod, 7442). Bel illustré érotique de Marcel Vertès (1895-1961). [Attributes: Soft Cover]

      [Bookseller: Librairie Bonheur d'occasion (LILA/ILAB)]
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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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