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

        The Bible of the Revolution. Signer's Edition containing original leaves of both Old and New Testaments

      San Francisco: Printed by Edwin & Robert Grabhorn for John Howell, 1930. Small 4to. (10 1/2 x 7 inches). Frontispiece plate reproducing signatures of the Signers, 12pp. facscimile of the Declaration of Independence as printed by Aitken within the Journals of Congress, two plates reproducing the title pages to the Aitken Bible, 4pp. facsimile of a 11 June 1783 George Washington letter referring to the Aitken Bible and other illustrations. Three original leaves inserted, as issued (two from the Aitken Bible [from the Old and New Testament respectively], one from Franklin's edition of The Confession of Faith). Publisher's russet morocco, spine with raised bands in six compartments, lettered in gilt in the second compartment. One of 50 numbered "special copies" with two original leaves from the first edition Aitken Bible, an original leaf from Benjamin Franklin's 1745 edition of The Confession of Faith, facsimile plates of the Declaration of Independence and a George Washington letter and other additions not found in the regular limited issue. The Aitken Bible is one of the most celebrated American Bibles, being the first complete English Bible printed in America. During the colonial era, the monopoly on printing English Bibles belonged to the Royal Printer, and the colonies were supplied entirely with Bibles printed in England. The first Bible printed in the British colonies in America was the famous Eliot Indian Bible, in Algonquin, issued in Cambridge in 1661-63 and reprinted in 1680-85. The 18th-century saw the printing of Bibles in German. With the American Revolution, the British monopoly on English-language Bibles naturally ended, and the embargo on goods from England acted to create a shortage. Aitken, a Philadelphia printer, undertook the task, producing the New Testament in 1781 and the Old Testament in 1782. On completion, he petitioned the Continental Congress for their endorsement and received it in September 1782. Because of this official endorsement and the reasons behind its production, the Aitken Bible is often referred to as "The Bible of the Revolution." This wonderful essay on the Bible, printed by the Grabhorn press, includes two original leaves from the Aitken Bible: leaves in this copy are from Lamentations and Galatians. Grabhorn Bibliography 131.

      [Bookseller: Donald Heald Rare Books]
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        Wild Apples

      Dublin: The Cuala Press,, 1930. With Preface by William Butler Yeats. Octavo. Original white linen backed blue boards, printed paper label to spine, titles to upper board in black, blue endpapers Spine a little toned, lightly rubbed at extremities. An excellent copy. First edition, first impression. Inscribed by the on the front free endpaper "To Alice Longworth with a catch in the breath from Oliver Gogarty, Renvyle, 10–viii–1930". Longworth (1884–1980) was the eldest child of President Theodore Roosevelt.

      [Bookseller: Peter Harrington]
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        THE TRAGEDIE OF HAMLET PRINCE OF DENMARKE

      Weimar: Cranach Press, 1930. No. 13 OF 50 COPIES BOUND IN FULL MOROCCO, of a total of 300 copies on handmade paper specially produced for the press (along with 15 on Japanese paper and seven on vellum). Hardcover. The Star-Studded Cranach "Hamlet," in Special Morocco,And with the Original Dust Jacket and Slipcase. 362 x 241 mm (14 1/4 x 9 1/2"). 186, [2] pp. No. 13 OF 50 COPIES BOUND IN FULL MOROCCO, of a total of 300 copies on handmade paper specially produced for the press (along with 15 on Japanese paper and seven on vellum). FINE ORIGINAL RED MOROCCO by Otto Dorfner of Weimar (signed on rear turn-in), covers with single gilt-ruled border, extensive gilt titling and insignia on upper cover, raised bands, spine panels with gilt lettering, turn-ins ruled in gilt, top edge gilt, other edges untrimmed. With the original publisher's (badly torn but intact) dust jacket and slipcase (worn and with tape residue, though still sturdy). In a handsome morocco-backed folding cloth box with raised bands and gilt titling. ILLUSTRATED THROUGHOUT WITH WOODCUTS IN THE TEXT BY EDWARD GORDON CRAIG. Printed in red and black. With separately bound English notes (in cloth-backed wrappers) by J. Dover Wilson in a pocket inside back cover, as issued. Rear pastedown with label of Lilly Library at University of Indiana and their ink deaccession stamp. Ransom, p. 253; "A Century for the Century" 21. Apart from faint offsetting on endpapers and the vaguest of foxing on a small handful of leaves, A VIRTUALLY PERFECT COPY, the binding unworn and the text immaculate. Undertaken in what Franklin calls "a perfectionist spirit," this book brings together the most glittering names in English and German private printing at the time. In addition to the presence of the woodcuts by Craig, the typographical arrangement of the volume was done by Count Harry Kessler; the title was cut by Eric Gill; the type (in 18, 12, and 10 point black letter) was designed by Edward Johnston (after that used by Fust and Schoeffer in their Mainz Psalter of 1457) and was cut by Edward Prince, completed after his death by G. T. Friend; and the paper was made by a process devised jointly by Kessler and Aristide and Gaspard Maillol. Franklin says that "anybody who examines the Cranach Press 'Hamlet' must agree it is worthy of its reputation. The paper, superficially like Bachelor's Kelmscott, seems softer and more friendly, appropriate for the expressionist style of Craig's woodcuts. . . . These designs, and Gill's in the Golden Cockerel Chaucer, form the bravest artistic adventure among all private press books." It is increasingly difficult to find well-preserved copies of this title, especially in Dorfner bindings. Master bookbinder Otto Dorfner (1885-1955) taught at the School of Applied Arts in Weimar and at the Bauhaus school before founding his own school to teach the craft. He was awarded a number of international awards for his bindings, and is particularly noted for his work with the Cranach Press. The fact that this copy retains its publisher's slipcase and most of the original dust jacket--both of which are seldom seen now--is testimony to how carefully the present volume has been handled over its lifetime.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        My Early Life, inscribed and dated pre-publication to Lord Beaverbrook

      This first edition, first printing, is inscribed and dated six days prior to publication on the ffep.  The unusually personal inscription inked in black in four lines on the ffep reads:  "To Max / from / Winston / Oct 14. 1930".  Confirmed by his bookplate, the inscription is to Lord Beaverbrook, William Maxwell Aitken (1879-1964, Knighted 1911, created Baron Beaverbrook 1917).  Churchill met Beaverbrook in 1911.  Their association proved lifelong, close, sometimes frictional, and both personal and professional.  A dynamic young Canadian millionaire, Beaverbrook moved to England in 1910.  Already a Member of Parliament in 1911, Beaverbrook quickly became both a force in Tory politics and a newspaper mogul.  During and between two World Wars Churchill was supported by Beaverbrook, beset by him, employed by him, served in the Government with him, or some combination of the above.  Their friendship lasted more than 50 years until Beaverbrook's death, less than a year before Churchill's own.  Beaverbrook was one of the three close Churchill friends dubbed with some disapproval by Churchill's wife the "three Bs" - including Bracken and Birkenhead.  Like Churchill, Beaverbrook was intelligent, opinionated, energetic, ambitious, and polarizing.  A formidable friend, he defended Churchill after the WWI Dardanelles disaster.  But just a few years after this book was inscribed their friendship suffered its greatest strain.  During the 1930s Beaverbrook shared "the almost unanimous conviction of England's ruling classes that Winston exaggerates the Nazi menace".  Beaverbrook opposed and belittled Churchill to the point of cruelty, calling his friend a "busted flush" and mocking his exclusion from Tory leadership.  Churchill wrote a widely syndicated biweekly column for Beaverbrook's Evening Standard.  But at the same time, Beaverbrook's famous cartoonist - Low - savaged Churchill.  Beaverbrook fired Churchill after Munich for stridently opposing appeasement  - both a financial blow and a lost rostrum.  Beaverbrook then published news of Churchill's financial distress.  Nonetheless, when Churchill returned to the Admiralty, he advocated to bring Beaverbrook into the Government.  When Churchill became Prime Minister, Beaverbrook became Minister of Aircraft Production - despite the King's explicit reservations - and later Minister of Supply and Minister for Production.  Beaverboook accompanied WSC on wartime visits to Roosevelt and led a British delegation to the Soviet Union, but resigned in 1942, precipitated by dissatisfaction with reconstruction of the Government.  Churchill wrote to him: "We have lived & fought side by side through terrible days, & I am sure our comradeship & public work will undergo no break."  and concluded "I am always yr affectionate friend."  Beaverbrook continued to encourage and defend Churchill throughout the war and beyond.  When Beaverbrook died, Churchill's secretary wrote privately "Sir Winston was deeply and obviously moved at Lord Beaverbrook's death, and in the last years no-one had been closer to him."  Churchill's inscription is in excellent condition, the ink only modestly age faded and the page only slightly toned.  The book itself is in very good condition.  The original coarse cloth binding is square, clean, and tight with bright boards but with some of the spine sunning endemic to this edition, an unobtrusive glue repair to the cloth at the foot of the spine, and light wear to the lower rear hinge.  The contents are bright and clean.  Beaverbrook's armorial bookplate is affixed to the front pastedown, with loss at the edges from an apparent and thankfully aborted effort to remove it.  The joints have been skillfully reinforced.  Moderate spotting is confined to the page edges.  The book is protected in a custom, half-morocco clamshell case in hand-dyed dark plum with raised spine bands and extensive gilt decoration.  Bibliographic reference:  Cohen A91.1.c, Woods/ICS A37(aa), Langworth p.131.

      [Bookseller: Churchill Book Collector]
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        MOBY DICK (Inscribed by Kent)

      Chicago: The Lakeside Press, 1930. First edition thus. Fine/Very Good +. One of 1000 copies of Kent's illustration masterwork. This copy inscribed "To James B. Rankin by Rockwell Kent 1933." Publisher's postcard addressed to Rankin indicates that he was an original subscriber for the book. Also laid into this copy is a message from the publisher regarding the release of the trade edition and highlighting the differences between the two editions. The books are Fine, clean and sharp with just a touch of discoloration at the spine ends. Many pages are unopened and clearly never read. Lacking the glassine jackets, but housed in the original aluminum slipcase which is Very Good+ to Near Fine. Slipcase has two small dents and a bit of wear or oxidation on the outer panels. & & One of the most famous illustrated books of the 20th century and a towering example of Rockwell Kent's art. Published on fine rag-paper in a large format (pages about 8 3/8 x 11 1/2 inches) and in three volumes. With the full complement of 280 woodcut illustrations, eight more than the trade edition. From James B. Rankin's distinguished collection, a part of which is now housed at Princeton University. A book that is quite uncommon to find inscribed. Fine in Very Good +. dust jacket.

      [Bookseller: Whitmore Rare Books]
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        On Being Ill

      [London]: Leonard and Virginia Woolf at The Hogarth Press, 1930. Pp. 34. Blue cloth, vellum spine, gilt spine title, marbled endpapers. With original printed limitation of 125 numbered copies stroked through and 250 copies printed above, "Out of series" handwritten in purple ink by Leonard Woolf, type-set and signed in purple ink by Virginia Woolf, top edge trimmed, others deckled. Covers soiled, spinestrip darkened, tiny 2 mm stain at fore-edge of 3 leaves, else interior clean and crisp. Lacks the dust jacket, else very good copy of the preliminary state.. Signed by Author. Limited, First Edition, Signed. Cloth. Very Good. 12 Mo.

      [Bookseller: Contact Editions]
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        Moby Dick or The Whale

      New York: Random House,, 1930. Illustrated by Rockwell Kent. Octavo. Original black cloth, titles and illustrations to spine and upper board in silver. With the dust jacket Illustrations throughout by Rockwell Kent. Bookseller's ticket. Very slight rubbing to the silver on the covers, very light spotting to edges, gentle rubbing to corners. An excellent copy in the slightly spine tanned jacket with some small tears along top edge. First Rockwell Kent trade edition, first printing. First published the same year by the Lakeside Press of Chicago in a three-volume limited edition, this trade edition proved immensely popular. It has been credited with contributing greatly to the rediscovery of Moby Dick as a classic.

      [Bookseller: Peter Harrington]
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        L'Architecture Moderne Au Maroc. II: Constructions particulieres

      Paris: Librairie de la Construction Moderne, 1930. First edition. Hardcover. Orig. cloth and board portfolio with cloth ties, color illustration mounted on front cover. Fine/No Dust Jacket. 7 pages in French text. Oblong folio, 31.5 x 25 cm. Sixty captioned plates printed recto only lose as issued. This volume depicts houses and hotels in Casablanca, Marrakech, and Rabat, with renderings of floor plans to scale and garden designs. A companion volume to Descamaps, Volume I, on modern Moroccan architecture covering Public Buildings. Clean, fresh copy, a few plates with small smudge marks in margins not affecting image or text. Rebacked in black cloth, black cloth ribbons new.

      [Bookseller: Royoung bookseller, Inc.]
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        Moby Dick or The Whale

      New York: Random House,, 1930. Illustrated by Rockwell Kent. Octavo. Original black cloth, titles and illustrations to spine and upper board in silver. Illustrations throughout by Rockwell Kent. Ownership inscription to front free endpaper. Corners bumped, thin scratch to spine. An excellent, fresh copy. First Rockwell Kent trade edition, first printing. First published the same year by the Lakeside Press of Chicago in a three-volume limited edition, this trade edition proved immensely popular. It has been credited with contributing greatly to the rediscovery of Moby Dick as a classic. A lovely copy.

      [Bookseller: Peter Harrington]
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        Lithographe I-VI

      Paris: Maeght Editeurs. 1st Edition. Hardcover. Fine/Fine. FIRST EDITIONS in six volumes of the complete catalog raisonné (French-language issue), complete with 36 original Miró lithographs, covering Miró's work from 1930-1981. Fine copies. Paris: Maeght Editeurs, 1972-92. Original cloth, original dust jackets. All volumes with text in French. All volumes fine; dust jackets in exceptional condition with no chipping, toning or tears. An exceptionally fine set.

      [Bookseller: The Manhattan Rare Book Company]
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        The Mysterious Mr. Quin (First Edition)

      New York: Dodd, Mead, 1930. First Edition. First Edition. Near Fine in an impeccably fresh, Near Fine dust jacket. Book has the slightest lean, with a touch of fading (as usually found) to the pink backstrip. Jacket is Fine and unfaded, with only a couple of tiny corner nicks to note. A stunning copy, the best we've handled.

      [Bookseller: Royal Books, Inc.]
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        60 Fotos / 60 Photos / 60 Photographies

      Berlin: Klinkhardt & Biermann, (1930). Near fine in photo-illustrated wrappers and scarce red belly band.. First Edition. Small thin quarto. The second and last book in Franz Roh's Fototek Series. Trilingual text. Designed by Jan Tschichold. A highlight of the New Vision movement of photography. (Auer 152).

      [Bookseller: Harper's Books, Inc.]
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        Four Faultless Felons

      New York: Dodd Mead, 1930. SCARCE in the Arthur Hawkins Art Deco dustjacket( the American 1st in jacket is scarcer than the British.). Peach-colored cloth boards printed in green and black, and with Art Deco printed endpages and pastedowns. Small, neatly-printed prior owner name in ink front endpage. Top edge lightly faded. Dustjacket is darkened at spine, and has chips at head and heels of spine and at flap folds. Photos can be supplied on request.. First American Edition. Cloth. Near Fine/Very Good.

      [Bookseller: Dale Steffey Books]
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        GIANT'S BREAD

      Garden City: Doubleday, Doran & Company, 1930. First American Edition. cloth. About Fine in a scarce Very Good or better, lightly soiled dustwrapper with a short closed tear on the rear. A novel, but not a mystery, about the life and loves of a musical genius, written under Christie's pseudonym.

      [Bookseller: Charles Agvent]
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        GIANT'S BREAD (Signed By Agatha Christie as "Mary Westmacott")

      New York: Doubleday, Doran, 1930. [Christie, Agatha] Westmacott, Mary. GIANT'S BREAD. NY: Doubleday, Doran, 1930. First American Edition, first printing. A Very Good, firm copy in original publisher's cloth, illustrated title labels to spine and front cover. No dust jacket. Spine a little darkened, small blemishes here and there but with eye appeal. SIGNED BY AGATHA CHRISTIE on the front-free endpaper using her pseudonym. From the collection (book-label to paste-down) of Charlotte "Carlo" Fisher (1895-1976). Carlo Fisher, initially hired to serve as nanny to Christie's daughter Rosalind, was pressed into service as an amanuensis during the earliest days of the author's career. To quote from Christie's autobiography, Charlotte Fisher was "friend and secretary and governess and dogsbody and everything else for many years. [She] is still one of my best friends." The six "Mary Westmacott" novels were those which Agatha Christie wrote to explore feelings which had no place in her mystery tales. They are often characterized as romance novels, but each and every one is anything but. GIANT'S BREAD, for example, is a tragedy, the story of love crushed by disillusionment. Quoting Rosalind Christie: "As early as 1930, my mother wrote her first novel using the name "Mary Westmacott". These novels, six in all, were a complete departure from the usual sphere of Agatha Christie "Queen of Crime." GIANT'S BREAD was first published in 1930 and was to be the first of six books under this nom de plume. It is a novel about Vernon Deyre […] the two women he loved and his obsession with music. My mother had some experience of the musical world having been trained as a singer and a concert pianist in Paris when she was young." The fact that this particular copy is the first American Edition is a mystery in itself; perhaps the author didn't have a copy of her first pseudonymous effort to spare. The other four Carlo Fisher "Westmacott" novels which we currently have in stock (three inscribed) are all first English editions. For obvious reasons, Agatha Christie wasn't in the habit of inscribing her non-mystery novels; until Carlo Fisher's copies appeared, we can find no other auction records of any other contemporaneously signed or inscribed Mary Westmacott books. . Signed by Author. First American Edition. Decorative Cloth. Very Good.

      [Bookseller: Lakin & Marley Rare Books ]
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        Notre-Dame de Paris

      Paris: R. Coulouma for the members of the Limited Editions Club,, 1930. Translated by Jessie Haynes. With a Critical Introduction by Andrew Lang and with Wood-Cut Illustrations by Frans Masereel. 2 volumes, large octavo (252 × 192 mm). Contemporary red-orange morocco, spines gilt in compartments, borders to boards composed of gilt rules and dotted lines with arabesque cornerpieces, marbled endpapers, turn-ins and all edges gilt. Woodcut illustrations throughout by Frans Masereel. Superb condition. First edition thus, one of 1500 numbered copies signed by the artist on the limitation leaf. A stunning set, this edition is rarely seen in a contemporary fine binding. The artist, Frans Masreel (1889–1972) was an important figure in the Belgian graphic arts community of the early 20th-century, producing more than twenty "wordless novels" including his 1919 masterpiece Mon Livre d'Heures. His influence stretched across the 20th-century, inspiring other artists including Lynd War, Will Eisner, Art Spiegelman

      [Bookseller: Peter Harrington]
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        The Murder at the Vicarage

      NY: Dodd, 1930. First Edition. Foxing to edges, else VG+ in a VG Dust Jacket missing a dime-sized chip at head of spine (spine lettering not affected), a couple of smaller chips to corners and with two short closed tears to front panel. The first Jane Marple mystery. Uncommon in Dust Jacket

      [Bookseller: Mystery Cove Book Shop]
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        The Stealing of the Mare

      Newtown, Montgomeryshire: Gregynog Press, 1930 The Celebrated Romance of the Stealing of the Mare. Translated from the Original Arabic by Lady Anne Blunt and done into verse by Wilfrid Scawen Blunt. A cycle of tales from the celebrated medieval Islamic Romance of Salame Abu Zeyd. TE Lawrence was offerd £20,000 by Edward Garnett to write the introduction, but declined! Limited to an edition of 275 copies, this is one of the 25 Special Bindings - Full green unpolished levant morocco, plain apart from a gilt rule frame and spine titling and blind ties to the spine bands, hand coloured at Gregynog, light blue headbands, turn-ins tooled in gilt with double rule fillet. Signed in gilt on turn-in of lower cover - Gregynog Press Bindery George Fisher. A little rubbed to corners, spine has faded slightly and is a little rubbed. Internally NO inscriptions, (ix), 73 pp, slight crack along paper only at joint. Housed in its original slip case which is a little grubby. A superb offering from Gregynog and very difficult to find nowadays. Scarce! (Harrop 16/p191)(DeZilverdistel 16/p214)

      [Bookseller: Madoc Books]
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        Itinerario de la nueva pintura Española (Panoramic view of new Spanish and Hispanic painting)

      The notable literary critic, essayist and poet's first book of art criticism, based on his presentation at the Centro Gallego, December 6, 1930, offered in an exceedingly rare, author's signed presentation copy with his Buenos Aires address stamped at the foot, complete in the original fragile wrappers with mounted title slip, the pen & ink presentation carefully done in French to Emile Malespine who published poems from "Hélices" (Torre's Dadaist collection of 1918-22 poems) in issue no. 3 of "Manometre", the journal he founded and edited. PRESENTATION: "A Emile Malespine de son "ancient" ami très fidele"; head of the front endpaper, carefully done in pen & blue ink, signed in full with ending diagonal accent descending 3.7 cm, the author's 3-lines Buenos Aires address, Uruguay 634 (near Tucumán and the Palacio de Justicia), stamped in violet ink at the foot. MALESPINE: [b. 1892, Nancy, Meurthe-et-Moselle, d. 1952, Paris] Trained in psychiatry, contributor to avant-garde magazines, leader of the Lyon Dadaists, founder and chief editor of the journal, "Manometre", publishing 9 issues, July 1922-January 1928, later known primarily as a painter. FORMAT: Publisher's plain beige paper, yapped wrappers, (extending 5 mm beyond the edges of the textblock), upper wrapper with the original, mounted, light coral paper title label with black letters, 104 x 77 mm, spine with black letters, sewn with beige endpapers; protected by a plain board chemise. SIZE: Octavo, 21.6 x 14.5 cm or 8.5 x 5.71 inches, as issued. CONDITION DETAIL: Pages: with a light top tip bend: some pages with light infrequent fox spots at edges, primarily the fore-edge: illustrations are clean and bright. Wrappers: upsweep at fore-edge: yapped edges with wear including short fore-edge tears, upper wrapper with a vertical diagonal crease and a chip at top edge near crown, lower wrapper with a top corner crease. Title Slip: Fine. Binding: tight and true. Board Chemise: Fine. PAGINATION: Confirmed complete, 54 pages: 36 pages with pagination, (no index), sections on Picasso and Juan Gris + 9 sheets, interspersed with and illustrating text with 18 full-page b/w captioned plates printed on coated paper on both sides of the sheet. There are 7 reproductions of Picasso works, 2 of Juan Gris and illustrations of Manet, Jaime Huguet, a Sudan sculpture, Salvador Dali, Joan Miró, Francisco Bores, Hernando Viñes, Maruja Mallo y Angeles Santos and Pancho Cossío, all of whom are discussed in the text, which mentions in passing numerous other Spanish painters including Joaquín Sorolla, Ignacio Zuloaga y Zabaleta, Daniel Váquez Díaz, Pedro Pruna, Hermen Anglada Camarasa, Julio Romero de Torres, Jose Moreno Villa, Eduardo Rosales, Antonio Gisbert Pérez, Francisco Pradilla Ortíz, José Casado del Alisal, Leonardo Alenza, Eugenio Lucas, Mariano Fortuny, Vicente Palmaroli, Joaquin Agrasot y Juan, Santiago Rusiñol, Ramon Casas i Carbó, Dario de Regoyos y Valdés, Isidro Nonell y Monturiol, Jose de Togores, Joaquim Sunyer, Xavier Nogués, Joaquín Torres-García, Juan de Echevarria, Cristobal Ruiz, Francisco Iturrino as well as Jacomart, Jaime Huguet, El Greco, Ismael González de la Serna, Diego Velázquez, Francisco Goya, etc. AVAILABILITY: Even an ordinary copy is rare: a worldwide catalog search finds 2 institutional holdings. OTHER IMAGES: by request.

      [Bookseller: Steven Waldman]
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        [Original Art]: Six Large Military Themed Animal Paintings

      [Circa 1940s]. Six original paintings, each measuring 17" x 25". Gouache on artist boards. Near fine with some toning to the edges of a couple of paintings and tape remnants on the rear of each, but each image is still exceptionally fresh and vivid. The six images depict various animals -- squirrel, owl, lion, dog, bear, and rooster -- all with military hats and one with a complete uniform, suggesting the art was created during World War II or possibly the Korean War. Several of the paintings appear to reinforce wartime ideals of conservation (squirrel storing nuts), education (the owl reading), and military service (the lion sitting on a pile of money with the various bills labeled "Security," "Leadership," "Welfare," "Prestige," and so on). The rear of two paintings have the fading stamp of the Simmons-Beal Agency that was located at 3 E. 40th Street in New York City from the 1930-1990s. We could find no specific information on the artist aside from references to several children's books he may have illustrated during the 1950s. While his background is unclear to us, his artistic skills are quite apparent. An amusing and clever collection of mid-century children's animal paintings promoting perceived American virtues. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Atget Photographe de Paris. Preface par Pierre Mac-Orlan

      New York: E. Weyhe, [1930]. First Edition. Quarto. Original maroon silk-covered boards, lettered in gilt; 23pp text, 96 gravure plates, fold-out letterpress booklet at rear (as issued). Ben Shahn's copy, with estate bookplate on front pastedown. Spine sunned, as usual (titling still legible); page margins gently toned;lacking the slipcase, else a fresh, tight copy, Very Good or better.& & A high-point of twentieth-century documentary photography, from the library of one of the twentieth century's foremost documentary photographers. Roth 60; Parr/Badger I 127; Hasselblad 90.

      [Bookseller: Lorne Bair Rare Books]
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        Atget: Photographe de Paris

      New York: E. Weyhe, 1930. First edition. Hardcover. Preface by Pierre Mac Orlan in French. The first monograph on Atget published several years after Atget died with the assistance of his champion Berenice Abbott. Includes 96 gravures and a fold out caption list in the rear. A tight about very good copy with some loss to the cloth at the bottom front corner and with some fraying to the spine ends and center of the spine and with some small spotting to the spine. Internally a clean copy. A very presentable copy of this highspot. (Parr & Badger v1, 127; Roth 60-61)

      [Bookseller: Jeff Hirsch Books, ABAA]
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        Ancient Operative Masonry by S. R. Parchment, a Treatise on Ancient Operative Masonry and the Mysteries of Antiquity. the Philosophy Contained Herein is Non-Sectarian Since it is an Aspect of the Ancient Wisdom Religion. a Labor of Love in the Cause of U

      San Francisco : Calif. : San Francisco Center, Rosicrucian Fellowship, 1930. Stated 1st Edition. Description: 209 p. : ill. , 20 cm. Subjects: Freemasonry --Symbolism --Rosicrucians --Occultism. A fine copy in the original gilt-blocked and decorated cloth. Remains particularly well-preserved overall; tight, bright, clean and especially sharp-cornered. Uncommon in such positive condition.

      [Bookseller: MW Books Ltd.]
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        Der Mythus des 20. Jahrhunderts, Eine Wertung der seelisch-geistigen Gestaltenkämpfe unserer Zeit

      München: Hoheneichen - Verlag, 1930. From the library of Radio Munich, with their small ink stamps. Very Good condition. SEE PHOTOS. A square, reasonably tight copy. Tiny brown speckles (light foxing) to a few pages at the beginning and end. Slight waviness to the upper margin of some pages. No underlining. No highlighting. No margin notes. First Edition (1. Auflage). First printing of the standard work by the Nazis' chief ideologist. The year of publication, 1930, is imprinted on the title page. Bound in the original gilt decorated black cloth. Alfred Rosenberg (1893-1946) was editor of the Nazi party organ, VÖLKISCHER BEOBACHTER. It was his anti-Semitic, anti-Christian, and neo-pagan book, DER MYTHUS DES 20. JAHRHUNDERTS [The Myth of the Twentieth Century], that supplied Adolf Hitler and the Nazis with a philosophical and pseudo-scientific basis for their racist doctrine. In 1933, Rosenberg was appointed foreign affairs secretary of the party. He became minister for the occupied Eastern territories in 1941. Following conviction at the Nuremberg war crimes trials, Rosenberg was executed in 1946. With the possible exception of Hitler's MEIN KAMPF, Rosenberg's DER MYTHUS DES 20. JAHRHUNDERTS was the book that most influenced the German people in their acceptance of Nazi ideology and doctrine. This copy is from the library of Radio Munich, with two small ink stamps: "Eigentum des Radio München." The association with Radio Munich is important for two reasons: 1) Propaganda minister Joseph Goebbels and the Nazis relied heavily on radio to disseminate their ideology and to build support among the German people. 2) Nazi party headquarters was in Munich and Radio Munich was at the epicenter of the Nazi propaganda machine during the Third Reich's early years. In a speech, entitled: The Radio as the Eighth Great Power, given on 18 August 1933, Goebbels said: "Future generations may conclude that the radio had as great an intellectual and spiritual impact on the masses as the printing press… It would not have been possible for us to take power or to use it in the ways we have without the radio... It is no exaggeration to say that the German revolution, at least in the form it took, would have been impossible without... the radio." Hans Fritzsche, a leading Nazi radio broadcaster, wrote: "Without exaggerating, one can say that there is no country in the world where the radio is anywhere near as intensive an intermediary between the government and the people as in Germany." Source: DR. GOEBBELS UND SEIN MINISTERIUM," in Hans Heinz Mantau-Sadlia, DEUTSCHE FÜHRER DEUTSCHES SCHICKSAL. DAS BUCH DER KÜNDER UND FÜHRER DES DRITTEN REICHES (Munich: Verlag Max Steinebach, 1934), pp. 330-342. "MYTH was unquestinably the standard text of National Socialist Party ideology." -- Fritz Nova (in ALFRED ROSENBERG, NAZI THEORIST OF THE HOLOCAUST, p. 8).. First Edition (1. Auflage). Hardcover. Very Good condition/No dust jacket. 8vo. 670pp.

      [Bookseller: About Books]
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        THE SUBTYL HISTORYES AND FABLES

      San Francisco: Grabhorn Press, 1930. No. 134 OF 175 COPIES. (There were also 25 special copies printed for San Francisco bibliophile Herbert Rothchild.). Hardcover. 244 x 168 mm (9 5/8 x 6 5/8"). 4 p.l., 167, [1] pp. "Translated out of Frensshe in to Englysshe by William Caxton at Westmynstre in the yere of oure Lorde MCCCCLXXXIII.". No. 134 OF 175 COPIES. (There were also 25 special copies printed for San Francisco bibliophile Herbert Rothchild.). Original reddish-brown morocco, raised bands, spine with titling and date in gilt, fore and tail edges untrimmed. Decorative and historiated initials as well as seven illustrations (including title page) by Valenti Angelo, paragraph marks and illustrations colored by hand in blue, red, yellow, or gold. Printed in red and black throughout. Heller & Magee 142. Extremities with just a hint of rubbing, one opening somewhat foxed in the margins (two others trivially so), but an excellent copy, clean and fresh internally, and in a scarcely worn binding. This is a typical production of the respected Grabhorn Press--an unpretentious but attractive (and award-winning) edition of a significant text, well printed on excellent paper and with pleasing decorations. Edwin and Robert Grabhorn founded the press bearing their name in San Francisco in 1915, and they worked together for 50 years, until the death of Edwin, at which time Robert formed a partnership with Andrew Hoyem to continue the work of the press. As Feather observed, "The typography and illustration of Grabhorn books was often experimental, frequently exciting, and usually successful," and their publications were often listed among the 50 best-designed books of the year by the AIGA design association. "Fables" was among the works that received this honor. The text is printed here in Koch's Bibel Gotisch type and printed on unbleached Arnold paper. According to Heller & Magee, "a curious error occurred in the printing of this book," as the date of the original English translation (1483) was mistakenly given on the title page as 1383; the discovery was made "before the regular edition left the shop and was corrected by hand." The present copy, however, slipped by uncorrected and could possibly be unique in this regard. Heller & Magee says that the original plan was to have the initials hand illuminated in all of the copies, but this idea was dropped after the 25 specials "because the printers felt that the hand illuminated initials were not fitted to the subject. They consider the book much more successful in the regular edition." This edition is not especially rare, but copies usually show up looking a lot more dreary than the present one.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Russland. Die Rekonstruktion der Architektur in der Sowjetunion

      Wien, Schroll 1930.. 4°. Mit 103 S. Mit 104 meist photogr. Tafelabb. OLn. Einbd. fleckig. - (Neues Bauen in der Welt 1. Hrsg. v. Joseph Gantner) EA Einbandgestaltung von El Lissitzky. Hrsg. mit einer Einl. v. Joseph Gantner.

      [Bookseller: Antiquariat Burgverlag]
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        HAVETH CHILDERS EVERYWHERE. FRAGMENT FROM WORK IN PROGRESS

      Paris: Henry Babou and Jack Kahane; New York: The Fountain Press, 1930. FIRST EDITION, LIMITED ISSUE. ONE OF 100 COPIES ON IRIDESCENT HANDMADE JAPAN, SIGNED BY THE AUTHOR (this is copy #24). (There were an additional 500 on paper and 85 writer's copies.). Softcover. One of 100 Signed Joyce "Finnegan" Excerpts,An Unopened Copy, with Undisturbed Glassine. 283 x 191 mm (11 1/8 x 7 1/2"). 72, [2] pp. FIRST EDITION, LIMITED ISSUE. ONE OF 100 COPIES ON IRIDESCENT HANDMADE JAPAN, SIGNED BY THE AUTHOR (this is copy #24). (There were an additional 500 on paper and 85 writer's copies.). Original white paper covers with printed titling on front and spine, leaves untrimmed and UNOPENED, IN THE ORIGINAL GLASSINE PROTECTIVE WRAPPER. The whole in the original (slightly rubbed) three-panel stiff card folder covered with gilt paper. (Without the original slipcase.) Title printed in green and black, initials and headlines printed in green. Inside front cover of folder with bookplate of John Kobler. Slocum & Cahoon A-41. Corners justly slightly bumped, one small faint brown spot to tissue cover, but AN OUTSTANDING COPY, the very fragile and always-torn glassine entirely intact, and the text with no signs of use, most of it never having seen the light of day. This luxury version of an excerpt from "Finnegans Wake" is printed on especially pleasing handmade paper that glows like a pearl. In his book review for the New York Times (11 January 1931), Herbert Matthews says this fragment is "an attempt to enrich and refashion the English language, and as such is highly stimulating and carries the reader through a form of mental gymnastics which is not without its profit and amusement." However, he admits, "after an honest and patient effort, backed by a previous reading of all of Mr. Joyce's work, 'Haveth Childers Everywhere' still remained absolutely incomprehensible," and he expresses concern that "Mr. Joyce has gone a little further on the path he is hewing for himself toward what seems to be complete linguistic chaos." Perhap our previous owner found it equally rough going, for this copy has obviously never been read. Appearances of our special 100 signed copies are not frequent in the marketplace: ABPC lists just three sales since 1995.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Etudes de Nu

      Paris: Librarie des Arts Décoratifs,, [1930]. Preface by Jean Cocteau. Unbound sheets in the original white-cloth-backed portfolio with salmon paper sides, white paper title label to front board printed in black, white cloth. 24 full page photographic plates. Portfolio slightly dusty, very minor breaches to the hinges and a small stain to the pastedown, the plates themselves in excellent condition; scarce thus. First edition, sole printing. The entry for this fabulous publication in Parr & Badger (The Photobook: A History) regards its content as reflecting something of a step backwards from the iconoclastic experimentation of Krull's 1928 masterpiece Metal. Certainly Etudes de Nu is respectful in form to the genre of which it is a part, but elements of Krull's more radical and at times private work are present in a number of these "highly elegant" images.

      [Bookseller: Peter Harrington]
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        Banalité: Illustré de Réogrammes et Recherches D'Objets de Loris et Parry

      Paris: Éditions de la Nouvelle Revue Française, 1930. Bottom of the wrapper along the spine perished with a closed tear along the entire spine edge, contents partially detached from the binding, still close to a near fine copy in printed wrappers, with the covers and contents particularly crisp and clean. From the library of Julien Levy, housed in a folder which bears his collection label.. First Edition. Folio. Number 107 of 300 numbered copies; SIGNED by Parry and Loris. Illustrated with 16 photogravures (réogrammes) after Parry's photographs, whose use of radical photographic techniques, created in part to jibe with Fargue's fantastical text, amounts to nothing less than the virtual creation of surrealism in photography. (Parr / Badger, v1,100-101).

      [Bookseller: Harper's Books, Inc.]
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        RUBAIYAT OF OMAR KHAYYAM

      Published by George G. Harrap & Co. Ltd., 1930. 1st thus edition.. Hardback. Very Good. Illustrated by Pogany, Willy. Very good condition with no wrapper. Limited edition of 750 copies. Publisher's turqoise leather binding with gilt and red floral vignette to front and raised bands and gilt title to spine. 12 exquisite tipped-in colour plates which Pogany himself described as quite different to the illustrations he had done previously for the Rubaiyat, being more modern, but still capturing the spirit of the Orient. In addition to the colour plates there are numerous b/w illustrations, some full-page, and some mounted vignettes. A beautifully presented book. Top edge gilt, others uncut. Copy no. 745 SIGNED by Pogany. Slight creasing to a few mounts but all plates are fine. A few scattered foxspots to contents. Some faint brown marks to cover edges. Corners worn. Slight damage to foredge of rear cover. [S]

      [Bookseller: Stella & Rose's Books]
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        Rubaiyat of Omar Khayyam: The First and Fourth renderings in English Verse. [Signed Limited Edition]

      London:: George G. Harrap & Co. Ltd.,, 1930.. No. 526 of the Limited Edition of 750 of the English issue.. Hardcover. Very Good+. 175pp, with the 12 tipped-in plates, and with the additional engraving signed by Pogany, with a loose guard, as well as the signed limitation page. Title page printed in brown on ochre. Small prints are set into the decorations heading the text on many pages. Pogany set out to make the illustrations for this edition more sensual and 'modern' than his previous series done for the Rubaiyat. There is some light foxing, affecting chiefly some of the earlier pages, although not the engraving. Each plate is mounted on tinted paper which is in turn mounted on the page, and the bottom inner corner of some of these mounts has a small crease, where it has caught the facing page when being closed. The plates themselves are all fine. Quarto, top edge gilt, others edges uncut, in the original binding of green crushed morocco, with a floral decoration to the front in red, brown and black on gilt in a small roundel, the spine titled and dated in gilt, with four raised bands. Some spotting and discolouration to the green, but otherwise firm and clean. A rather lovely book.

      [Bookseller: Chapel Books]
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        Rubaiyat of Omar Khayyam. The First and Fourth Renderings in English Verse with Illustrations by Willy Pogany. Limited Edition Signed & with Signed Etched Plate

      London: George Harrap, 1930. First edition thus. Number 554 of 750 copies for England signed by the illustrator. With additional etched frontispiece this also signed by Pogany. 12 tipped-in coloured plates and other illustrations and decorations. 4to, pp. 172, publishers full green crushed morocco with central decoration in red and gilt to upper cover, top edge gilt others uncut. Some marginal foxing, corner of one tipped-in plate creased, spine faded; generally very good.

      [Bookseller: Bristow and Garland]
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        Le Thé au Shepheard's au Caire - tenues d'après-midi".

      - Aquarelle et gouache, mine de plomb, titrée, (1930), 28 x 17 cm. L'hôtel Shepheard a été construit au Caire au milieu du XIXe siècle ; d'abord nommé "L'Hôtel des Anglais", il reste un des plus célèbres établissements de la ville jusqu'à son incendie en 1952. Il doit son nom à l'un de ses propriétaires, Samuel SHEPHEARD. Symbole de luxe et d'opulence, des personnages comme Wiston CHURCHILL y séjournent. D'élégants touristes prennent le frais sur la terrasse de l'hôtel, dans un ciel bleu azuléen ; les couleurs pastelles et vives des tenues forment une mosaïque chamarrée. Léon BENIGNI (1892-1948) a illustré Alfred de MUSSET (Bénézit, I, 624-25). Il travaille surtout pour la presse de mode en France et à l'étranger ; il participe aux revues Vogue, Frou-Frou, Fantasio, Femina, Modes et Travaux, L'Officiel, Art-Goût-Beauté, Art et Industrie. (France) ; Harper's Bazaar (Angleterre) ; Die Dame et Elegante Welt (Allemagne) ; La Donna (Italie) (Dico Solo, 67). Il réalise des publicités pour les marques suivantes : Rouge Baiser, RIVAL (rouge à lèvres), Mauboussin, le paquebot L'Atlantique, Frigeco, les fourrures Brunswick, les grands magasins (La Samaritaine, Le Bon Marché, La Grande Maison de Blanc, Le Louvre, Le Printemps), Ford. ; les couturiers HERMES, Jeanne LANVIN, Jacques FATH, WORTH, Jean PATOU, SCHIAPARELLI, ROCHAS, Paul POIRET, Pierre IMANS. ; il réalise des modèles pour les tissus Koechlin, les filatures Prouvost et la maison Clark's (Pages d'Or de l'édition publicitaire, p. 255). Oeuvre originale

      [Bookseller: Librairie Chretien]
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        Le Vison noir".

      - Gouache et encre de Chine, sur papier cartonné, 33.5 x 24.5 cm, encadré. La femme représentée par BENIGNI porte un lourd manteau de fourrure noir, aux élégantes striures. L'artiste a travaillé pour Brunswick "le fourreur qui fait fureur", dont il a illustré la plaquette publicitaire éditée par DRAEGER en 1930.Léon BENIGNI (1892-1948) a illustré Alfred de MUSSET (Bénézit, I, 624-25). Il travaille surtout pour la presse de mode en France et à l'étranger ; il participe aux revues Vogue, Frou-Frou, Fantasio, Femina, Modes et Travaux, L'Officiel, Art-Goût-Beauté, Art et Industrie. (France) ; Harper's Bazaar (Angleterre) ; Die Dame et Elegante Welt (Allemagne) ; La Donna (Italie) (Dico Solo, 67). Il réalise des publicités pour les marques suivantes : Rouge Baiser, RIVAL (rouge à lèvres), Mauboussin, le paquebot L'Atlantique, Frigeco, les fourrures Brunswick, les grands magasins (La Samaritaine, Le Bon Marché, La Grande Maison de Blanc, Le Louvre, Le Printemps), Ford. ; les couturiers HERMES, Jeanne LANVIN, Jacques FATH, WORTH, Jean PATOU, SCHIAPARELLI, ROCHAS, Paul POIRET, Pierre IMANS. ; il réalise des modèles pour les tissus Koechlin, les filatures Prouvost et la maison Clark's (Pages d'Or de l'édition publicitaire, p. 255). Livres

      [Bookseller: Librairie Chretien]
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        Costume de chasse".

      1930 - Gouache et mine de plomb, sur papier collé sur calque, (1930), 31 x 17 (45.5 x 28 avec annotations et remarques), encadrée. Nombreuses annotations de couleurs, en anglais. BENIGNI travaille pour le magazine Harper's Bazaar. Créé en 1867, il innove en proposant de nombreuses illustrations ; ce sera le premier à publier des robes de CHANEL. Il s'octroye la participation d'illustrateurs de talent, comme ERTE, Bernard BOUTET de MONVEL, Léon BAKST. Le dessin nous montre un costume de chasse avec capeline, écharpe en tweed, collants assortis et chapeau. Usures marginales.Léon BENIGNI (1892-1948) a illustré Alfred de MUSSET (Bénézit, I, 624-25). Il travaille surtout pour la presse de mode en France et à l'étranger ; il participe aux revues Vogue, Frou-Frou, Fantasio, Femina, Modes et Travaux, L'Officiel, Art-Goût-Beauté, Art et Industrie. (France) ; Harper's Bazaar (Angleterre) ; Die Dame et Elegante Welt (Allemagne) ; La Donna (Italie) (Dico Solo, 67). Il réalise des publicités pour les marques suivantes : Rouge Baiser, RIVAL (rouge à lèvres), Mauboussin, le paquebot L'Atlantique, Frigeco, les fourrures Brunswick, les grands magasins (La Samaritaine, Le Bon Marché, La Grande Maison de Blanc, Le Louvre, Le Printemps), Ford. ; les couturiers HERMES, Jeanne LANVIN, Jacques FATH, WORTH, Jean PATOU, SCHIAPARELLI, ROCHAS, Paul POIRET, Pierre IMANS. ; il réalise des modèles pour les tissus Koechlin, les filatures Prouvost et la maison Clark's (Pages d'Or de l'édition publicitaire, page 255). Oeuvre originale

      [Bookseller: Librairie Chretien]
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        LETTER

      Rushden, Northants, 1930. . Dated June 7, 1949. Typed letter signed by James Hilton and addressed to the National Broadcasting Company, Inc. The subject of this letter is an NBC adaptation of Goodbye Mr. Chips. Book condition: Fine Condition

      [Bookseller: James & Mary Laurie Booksellers (A.B.A.A]
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        My Early Life, inscribed and dated pre-publication to Lord Beaverbrook

      This first edition, first printing, is inscribed and dated six days prior to publication on the ffep.  The unusually personal inscription inked in black in four lines on the ffep reads:  "To Max / from / Winston / Oct 14. 1930".  Confirmed by his bookplate, the inscription is to Lord Beaverbrook, William Maxwell Aitken (1879-1964, Knighted 1911, created Baron Beaverbrook 1917).  Churchill met Beaverbrook in 1911.  Their association proved lifelong, close, sometimes frictional, and both personal and professional.  A dynamic young Canadian millionaire, Beaverbrook moved to England in 1910.  Already a Member of Parliament in 1911, Beaverbrook quickly became both a force in Tory politics and a newspaper mogul.  During and between two World Wars Churchill was supported by Beaverbrook, beset by him, employed by him, served in the Government with him, or some combination of the above.  Their friendship lasted more than 50 years until Beaverbrook's death, less than a year before Churchill's own.  Beaverbrook was one of the three close Churchill friends dubbed with some disapproval by Churchill's wife the "three Bs" - including Bracken and Birkenhead.  Like Churchill, Beaverbrook was intelligent, opinionated, energetic, ambitious, and polarizing.  A formidable friend, he defended Churchill after the WWI Dardanelles disaster.  But just a few years after this book was inscribed their friendship suffered its greatest strain.  During the 1930s Beaverbrook shared "the almost unanimous conviction of England's ruling classes that Winston exaggerates the Nazi menace".  Beaverbrook opposed and belittled Churchill to the point of cruelty, calling his friend a "busted flush" and mocking his exclusion from Tory leadership.  Churchill wrote a widely syndicated biweekly column for Beaverbrook's Evening Standard.  But at the same time, Beaverbrook's famous cartoonist - Low - savaged Churchill.  Beaverbrook fired Churchill after Munich for stridently opposing appeasement  - both a financial blow and a lost rostrum.  Beaverbrook then published news of Churchill's financial distress.  Nonetheless, when Churchill returned to the Admiralty, he advocated to bring Beaverbrook into the Government.  When Churchill became Prime Minister, Beaverbrook became Minister of Aircraft Production - despite the King's explicit reservations - and later Minister of Supply and Minister for Production.  Beaverboook accompanied WSC on wartime visits to Roosevelt and led a British delegation to the Soviet Union, but resigned in 1942, precipitated by dissatisfaction with reconstruction of the Government.  Churchill wrote to him: "We have lived & fought side by side through terrible days, & I am sure our comradeship & public work will undergo no break."  and concluded "I am always yr affectionate friend."  Beaverbrook continued to encourage and defend Churchill throughout the war and beyond.  When Beaverbrook died, Churchill's secretary wrote privately "Sir Winston was deeply and obviously moved at Lord Beaverbrook's death, and in the last years no-one had been closer to him."  Churchill's inscription is in excellent condition, the ink only modestly age faded and the page only slightly toned.  The book itself is in very good condition.  The original coarse cloth binding is square, clean, and tight with bright boards but with some of the spine sunning endemic to this edition, an unobtrusive glue repair to the cloth at the foot of the spine, and light wear to the lower rear hinge.  The contents are bright and clean.  Beaverbrook's armorial bookplate is affixed to the front pastedown, with loss at the edges from an apparent and thankfully aborted effort to remove it.  The joints have been skillfully reinforced.  Moderate spotting is confined to the page edges.  The book is protected in a custom, half-morocco clamshell case in hand-dyed dark plum with raised spine bands and extensive gilt decoration.  Bibliographic reference:  Cohen A91.1.c, Woods/ICS A37(aa), Langworth p.131.

      [Bookseller: Churchill Book Collector]
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        Correspondance entre Harry Baur et son avocat, Maître Lévy-Oulmann.

      Ensemble d'une quarantaine de feuillets rédigés par Harry Baur, dans les années trente, sur papier en-tête d'hôtels, de brasseries, ou papier à en-tête aux initiales du comédien, qui habitait au 6 rue Frédéric Bastiat, formats divers. La plupart de cette correspondance comporte une signature autographe. Certaines lettres sont tapuscrites, beaucoup manuscrites. Il semble qu'elles soient toutes adressées à son avocat, Maître Levy-Oulmann, souvent dénommé « mon cher vieux ». La majorité traite de problèmes d'argent, de procès en cours, de doutes sur le chauffeur personnel dont le train de vie semblait à Baur au-dessus de ses moyens. Ce chauffeur l'assignera au tribunal après plusieurs années de service. Quelques lettres sont relatives au cinéma : Harry Baur se plaint que son nom soit plus petit que celui de Simone Simon, plainte à l'Excelsior pour la publication d'un placard publicitaire ne respectant pas les engagements contractuels du comédien, conflit avec des producteurs (Gallic Films, Gaumont). Une lettre révèle la sensibilité du comédien, dans laquelle il cherche un moyen d'aider un homme pauvre et invalide à ne pas se laisser voler par son patron. Ce riche ensemble, éparpillé sur la décennie 1930, dénote un esprit procédurier et soupçonneux, et il révèle la forte personnalité de Harry Baur, se posant comme un homme sûr de lui et de ses droits, ne laissant rien passer (« j'attaque qui me touche » écrit-il). L'écriture même témoigne de ce caractère trempé. (tv) Très bon couverture souple Edition originale Dedicacé par l'auteur

      [Bookseller: Librairie Dejolibelle]
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        Paul Robeson, Negro

      Harper and Brothers New York: Harper and Brothers. 1930. First. First edition. Corners worn, and the spine has been professionally and nearly seamlessly rebacked, a fair only copy, lacking the dustwrapper. A biography of Robeson by his wife. The Dedication Copy. The printed dedication reads "For Our Son." Their only child, Paul Robeson, Jr., was a mere two years old at the time of publication. This is Paul Robeson, Jr.'s copy with his bold ownership Signature on the front fly (obviously written at a later date). It also has the smaller ownership signature of Rev. Benjamin C. Robeson (Paul Robeson, Sr.'s brother). In addition, the subject of the book, Paul Robeson, Sr., has noted on the rear fly: "April 25, 1956. Have translated = The Soviet Biography . - John. Soldier of Peace." An exact timeline of ownership is impossible to determine, but we suggest this was one of Paul Robeson, Sr.'s own copies, was then given to his brother, and was later inherited by the dedicatee, to whom his mother probably did not see fit to inscribe a copy while he was still in diapers. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        The District of Menteith. Signed limited edition

      Eneas MacKay, Stirling 1930 - [50pp.].One original etching [plate subsequently destroyed] and ten reproductions of wash drawings with captioned tissues.420mm x 300mm (17" x 12").No 218 of 250 copies made, 225 sold. Signed by author and artist. Contains a loose mounted photograph of the artist. VG : in Very good condition without dust jacket. Some minor rubbing to cover. Signed by the author and the artist on the limited edition page Brown/gilt patterned cloth over bevelled boards with brown leather spine. Gilt titles on brown leather panel Limited Edition Edition de Luxe [218/250] [Attributes: Hard Cover]

      [Bookseller: Barter Books Ltd]
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        Poems (copy inscribed to Jeannette Monnier)

      Alex Thom & Co., Dublin 1930 Petite plaquette in-12, 23pp. Couverture à larges rabats. Contient 5 poèmes de Coffey et 4 de Devlin. Edité à compte d'auteurs. Il s'agit de la toute première plaquette poétique publiée de l'auteur irlandais Brian Coffey, avec Denis Devlin. Exemplaire précieux puisqu'il est enrichi d'une double-dédicace signée par les auteurs à l'éditrice française Jeannette Monnier, qui publiera en 1933 "Three Poems" de Coffey. Il n'y a pas de justificatif du tirage: mais il semble que ce ne fut imprimé qu'à 30 exemplaires: il est indiqué en dédicace "30 x. 30 To Mlle Jeannette Monnier from Brian Coffey & Denis Devlin". Infime morsure en coiffe supérieure. (ac) Bon couverture souple Edition originale Dedicacé par l'auteur

      [Bookseller: Librairie Dejolibelle]
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        Ensemble de documents manuscrits et imprimés sur les carrières souterraines de Paris

      Une pochette manuscrite comprenant deux documents, un imprimée, l'autre manuscrit : Dunkel : Topographie et consolidation des carrières de Paris avec une description géologique et hydrologique du sol et quatre plans cotés en couleur à l'usage des ingénieurs, des architectes et des constructeurs (Paris, Des Fossez, 1885), 68 pages. 4 planches hors-texte volantes en couleurs dépliantes. Il s'agit de l'exemplaire personnel de Dunkel avec son cachet gras. Le premier plat est manquant. Un manuscrit dont nous n'avons pu identifier l'auteur . Une carte géologique dessinée à la main et coloriée (coupe de Paris aux Vosges), une carte géologique de Paris dessinée à la main et coloriée, 16 pages manuscrites émaillées de figures sur la préhistoire du sous-sol parisien. Un tableau : formation et composition du sol de Paris, Une grande carte en double page : coupe schématique de direction SO-NE montrant les mouvements du sol de Paris en couleurs, suivi d'un tableau à sept pans dépliants en couleurs de formation des sols de Paris. Etude du sol parisien : aide-mémoire destiné à faciliter la reconnaissance des terrains formant le sol parisien établi par M. Vallet à l'aide des documents énumérés ci-dessous et des renseignements recueillis sur les chantiers souterrains de la Ville de Paris, notamment au cours des travaux des lignes métropolitaines par AUGUSTE DOLLOT : énumération des documents consultés et analysés : carte géologique de G. Dollfus, géologie des environs de Paris de Stanislas Meunier, description des catacombes par Hericart de Thury, guide du géologue dans le terrain parisien de A. Laville, histoire naturelle de France de Ph. Fritel (Inspection générale des carrières ? Imprimerie H. Bouillant, 1906). Grand in-8° broché, couvertures imprimées, 62 pages. Très nombreuses planches hors-texte et grandes cartes dépliantes en couleurs des carrières de Paris. - - - Les carrières sous Paris : nomenclature des voies publiques sous-minées avec l'indication des travaux de consolidation et du niveau des carrières (paris, Imprimerie Paul Dupont, 1896), 131 pages de tableaux répartis de la façon suivante : année des travaux de consolidation, désignation des voies publiques, état des carrières et observations diverses, niveau des carrières au dessous du sol, distance du sol au ciel de la carière, hauteur des galeries d'exploitation. Plats détachés mais présents.- - - Dugas : Inspection Générale des Carrières de la Seine : Notice sur les carrières et les travaux de consolidation des carrières souterraines ? avec un avant-propos de Loiret (paris, Imprimerie Paul Gruot, 1929), In-4° broché, couvertures imprimées, 17 pages et 10 planches hors-texte Très bon couverture rigide Edition originale

      [Bookseller: Librairie Dejolibelle]
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        A Draft of XXX Cantos

      Hours Press, Paris 1930 - One of 200 numbered copies, of which this is number 89, bound into tan buckram with orange lettering to the front board and to the spine. This copy is slightly browned on the spine, and has very light bumping to the lower outside corners. Scattered foxing just noticeable to the upper and fore edges. Previous owner's stamped insignia to the upper corner of the front endpage. An attractive copy of this scarce and important book. [Attributes: Hard Cover]

      [Bookseller: Contact Editions, ABAC, ILAB]
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        Soldier's Pay.

      London: Chatto and Windus, 1930 - Octavo. Original green cloth. With the dust jacket. Ownership signature to front free endpaper, pencilled inscription to title page. Spine rolled and faded, cloth rubbed and marked, particularly the lower cover, front hinge starting, some spotting to contents. A good copy in the rubbed and tanned jacket that is frayed and chipped at the corners and ends of the spine panel. First UK edition, first impression, and the first of Faulkner's books to be published in the UK.

      [Bookseller: Peter Harrington. ABA member]
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        Cakes and Ale [Inscribed Association Copy]

      London: Heinemann. (1930). One of Maugham's major novels, a comedy about hypocrisy and literary fame, featuring a writer based on Thomas Hardy and his good-natured wife Rosie. In a 1958 interview, Maugham said it was his favorite of all his novels. A significant association copy, inscribed by the author to his longtime companion and later his adopted son: "For Alan Searle from his friend W. Somerset Maugham/ Oct 6. 1930." Maugham had met Searle in 1928, when Maugham was 54 and Searle was 26; Maugham's partner at the time was Gerald Haxton, and he reportedly alternated between Searle and Haxton until Haxton died in 1944, at which time he settled, at least partially, for Searle. Their relationship continued for the rest of Maugham's life. In 1962, Maugham disowned his biological daughter and adopted Searle and made him his heir. The change in his will was overturned by the courts, but after Maugham died Searle inherited a sum of money, the contents of Maugham's estate, his manuscripts, and the income from his copyrights for the next 30 years. Foxing to edges of text block, else near fine in a very good dust jacket with only modest rubbing to folds, spotting and shelf wear. . First Edition. Hardcover.

      [Bookseller: Ken Lopez Bookseller, ABAA]
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        La Chienne (First French Edition, Large Paper, Inscribed)

      Albien Michel Paris: Albien Michel, 1930. First French Edition (and correct first). Presentation copy, INSCRIBED by the author on the front endpaper. The large paper edition, one of 40 copies (this being No. 31) printed on Hollande paper. Basis for two superb films: director Jean Renoir's "La Chienne" (1931) and the American film noir classic, "Scarlet Street" (1945), directed by Fritz Lang and starring Edward G. Robinson, Joan Bennett and Dan Duryea. Very Good or better in original wrappers, slightly cocked with an equally slight roll and some faint creasing to the spine panel. A book that was a bestseller in its day, with this edition reprinted at least 26 times.

      [Bookseller: Royal Books, Inc. ]
 46.   Check availability:     ABAA     Link/Print  

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