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Displayed below are some selected recent viaLibri matches for books published in 1931

        Marius EDITION ORIGINALE Tirage de tête

      Paris: Fasquelle, 1931. Fine. Fasquelle, Paris 1931, 14x21,5cm, relié sous étui. - First edition, one of 50 numbered copies on Japan, pulling tête.binding half brown morocco with corners, smooth back, when golden tail, flat marbled paper, guards and contreplats brown paper covers and back (past) kept , gilt-head witnesses; bordered the same morocco case and covered in the same paper marbled, elegant set signed copy of Goy & Vilaine.Bel fully established. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 50 exemplaires numérotés sur Japon, tirage de tête. Reliure en demi maroquin marron à coins, dos lisse, date dorée en queue, plats de papier marbré, gardes et contreplats de papier marron, couvertures et dos (passé) conservés, tête dorée sur témoins; étui bordé du même maroquin et recouvert du même papier marbré, élégant ensemble signé de Goy & Vilaine. Bel exemplaire parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        East Coasting

      London: The Curwen Press, 1931. 1st. Original Wraps. Collectible; Fine. Lovely 1931 travel booklet, issued by The London and Northeastern Railway and wonderfully illustrated in rich color (and black-and-white) by the great graphic artist Edward Bawden. A clean, very well-preserved copy to boot: Crisp and Near Fine in its stapled orange wrappers, with just the slightest hint of age-toning along the spine. Octavo, beautifully designed and published out of London by Curwen Press.

      [Bookseller: Appledore Books, ABAA]
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        Contribution a l'Etude des Armes Orientales Inde et Archipel Malais: Tome Premier--Etudes; and Tome Second--Catalogue (Two volume set)

      Paris: Albert Levy. 1931. Paperback. Very Good+. Two volume complete set, 1931, paperbacks, large quartos, 317pp. + 36 plate index and 290pp. + 84 plate index, illustrated in b&w. Books VG+ with volume one having small repaired fissure to top of spine, bumps to corners that are echoed throughout text block, bindings tight, texts clean, unmarked and unopened. No DJs. Text in French. THIS LARGE, HEAVY SET WILL REQUIRE ADDITIONAL SHIPPING FEES.

      [Bookseller: Caliban Books ABAA-ILAB]
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        Hollywood

      Madrid, editorial Ulises, 1931 - Madrid, editorial Ulises, 1931. 16 x 12,5 cm Muy raro y buscado. la ilustración de la cubierta de Maruja Mallo pertenece a a la serie Estampas, que realizó la artista hacia 1927, siendo esta ilustración la única referencia existente a esta obra en concreto. El libro esta en muy buen estado. El lomo ha sido reforzado, pero esta entero. El interior esta impecable y hay alguna página intonso. [Attributes: First Edition; Soft Cover]

      [Bookseller: Largine]
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        I tre boy - scouts. Avventure meravigliose. 140 fascicoli dal n. 1 al n. 140.

      Sonzogno 1931 / 1937 In 8 p., pp. 45 a fascicolo. 140 fascicoli rilegati in 14 volumi t. tela e oro. Ogni fascicolo conserva la cop. originale.

      [Bookseller: Nuovi Quaderni di Capestrano]
 5.   Check availability:     maremagnum.com     Link/Print  


        The Wind in the Willows

      London: Methuen & Co. Ltd,, 1931. Illustrated by Ernest H. Shepard. Octavo. Original green cloth, spine lettered in gilt, vignette to front board in gilt, map endpapers, top edge green. With the dust jacket. Illustrations throughout by E. H. Shepard. Faint ownership signature to front free endpaper. An exceptional copy in the slightly rubbed jacket with a little loss to spine ends and corners of front and rear panels. First illustrated edition, first impression in the scarce jacket. The book was first published without illustrations in 1908. The illustration on page 30 incorrectly has Rat at the oars (it should be Mole), a mistake that was corrected in subsequent editions.

      [Bookseller: Peter Harrington]
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        Rumour at Nightfall

      London: William Heinemann Ltd,, 1931. Octavo. Original red cloth, titles to spine gilt, star design to upper board blind stamped Spine slightly rolled and faded, boards a little rubbed and marked, bump to lower corner, some spotting to edges. A very good copy. First edition, first impression.

      [Bookseller: Peter Harrington]
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        The Violin-Makers of the Guarneri Family (1626-1762)- Their Life and Work. By William Henry Hill, Arthur F. Hill and Alfred Ebsworth Hill. With an Introduction Note by Edward J. Dent.

      London, William E. Hill & Sons, 1931. 4to. XXXVII + 181 s. 17 fargeplansjer. Plansjer i photogravure. Tekstillustrasjoner. Orig. pergamentbd. Topp gullsnitt. I kassett

      [Bookseller: Ruuds Antikvariat]
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        Caucasus

      [No place, no publisher.], 1931. Octavo (223 × 145 mm). Original marbled wrappers, tips edged in gold paper, paper label to spine lettered in black, pale blue endpapers. Housed in a black solander box. 4 tipped-in illustrations, hand drawn and coloured by the author. Some creasing to wrappers, contents partly separated from spine but holding. An excellent copy. Number 2 of 3 copies, printed and bound by the author. Presentation copy, inscribed by the author on the first blank ("For Aldous Huxley") and on the limitation page ("F.P. for A.H. in faithful homage. 11/20/31.").

      [Bookseller: Peter Harrington]
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        The Little Shepherd of Kingdom Come

      New York: Scribners, 1931. Limited ed. Hardcover. Very Good +. Number 309 of 512 (12 for presentation) copies signed by illustrator N.C. Wyeth. All plates (including frontispiece) with intact tissue guards. Vellum spine with blue boards. Slight wear to spine. Text block near fine. Signed by Author(s).

      [Bookseller: Liberty Book Store IOBA FABA]
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        Zwei Italienerinnen, Fruchtkörbe auf dem Kopf tragend und eine Treppe hinabsteigend.

      . Bleistift auf Maschinenbütten, rechts unten monogrammiert und datiert "EDK 1931". 28,5 x 22,5 cm.. 1912/14 war Kinzinger Meisterschüler Adolf Hölzels, 1919 Mitbegründer der Uecht-Gruppe. Die "Schule für bildende Künste Hans Hofmann München" leitete er von 1930 - 33, lebte 1934 in Paris und siedelte anschließend in die USA über, wo er als Maler und Lehrer tätig war.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Diagrammes

      Paris: Privately published, 1931. Spine tanned, else near fine in illustrated wrappers, possible original glassine. Underrated book.. First Edition. Quarto. Number 224 of 225 press-numbered copies. With nine very interesting heliogravures, mostly modernist abstract. One dark cobblestone image is reminiscent of Brassai, though this book precedes Paris de Nuit.

      [Bookseller: Harper's Books, Inc.]
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        CANIGÓ . Llegenda pirenaica del temps de la reconquesta .

      Editorial : ORBIS / Tallers Gràfics ALTÉS 1931 - Barcelona 1931 . Edició especial autoritzada publicada en commemoració de la restauració del govern de la Generalitat de Catalalunya . Enquad : Plena pell , ferros a ambdós plans , tall superior daurat 26 x 33cms. 240pag. il.lustrada per Maurici de Vassal, amb dotze gravats a l'aigua-fort per R.G.C. Edició numerada en paper de fil Guarro de 200 exemplars (ex. 150/200). Tema : Poesía, Literatura catalana . Idioma : Català . Llibre en petites senyals d'ús en les cobertes, Alguns, molt pocs, punts d'òxid . Llom superior reparat amb un tros de pell lleugerament més clar, amb barbes . (v. fotos ampliades ) .

      [Bookseller: montgiber]
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        The Dream Life Of Balso Snell

      Contact Editions 1931 - First edition. (Hand-numbered copy #157, one of only 500 as mentioned in colophon at front.) 95 p. Stiff wraps. Good+ condition. A few light dampstains on front cover, chipping to head and tail. Archival, ph-neutral mending tissue on hinge at front, front cover is a bit free and torn at head. Wraps toned. Former owner's name on front endpaper. The rare satirical debut of the author of Day of the Locust and Miss Lonelyhearts. [Attributes: First Edition; Soft Cover]

      [Bookseller: Burnside Rare Books]
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        England V Spain 1931 (highbury) Football Programme

      1931 - Official programme for the England v Spain international played at Highbury, December 9th 1931. England won the match 7-1, Smith, Johnson and Crooks all scoring twice. 22 x 14cm. 12pp. Lightly rubbed but generally a good copy.

      [Bookseller: Sportspages]
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        PIRATES IN OZ

      NEILL, J.R.. (BAUM,L.FRANK) PIRATES IN OZ by Ruth Plumly Thompson. Chicago: Reilly & Lee (1931) 4to, medium green cloth, pictorial paste-on, VG+. 1st ed, 1st state (H-G XXV), illustrated by J.R. NEILL with cover plate, pictorial endpapers, 12 beautiful color plates (coated one side) plus b&w's in-text. A nice copy.

      [Bookseller: Aleph-Bet Books, Inc.]
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        Philipp, Martin Erich. - MEPH. - "Blauflügel Ara".

      - Farbholzschnitt, auf China, 1931. Von Martin Erich Philipp. 48,0 x 16,0 cm (Darstellung / Druckstock) / 56,5 x 23,5 cm (Blatt). Götze D 38. Im Stock monogrammiert unten rechts "MEPH". In Bleistift signiert "M. E. Philipp" unten rechts und betitelt unten links. - Seltenes Blatt. - Papier leicht gebräunt und lichtrandig. Verso Reste einer alten Montierung. Gut erhalten. Martin Erich Philipp (1887 Zwickau ? 1978 Dresden). Nach seinem Monogramm kurz genannt MEPH. Deutscher Grafiker in Dresden. Studierte 1904?08 an der Kunstgewerbeschule Dresden sowie 1908?13 an der Kunstakademie Dresden, unter anderem bei Oskar Zwintscher, Gotthard Kuehl, Richard Müller und Oskar Schindler. Ab 1913 war er freischaffend in Dresden tätig. Bis 1933 und nach 1945 auf zahlreichen Grafikausstellungen vertreten. Schuf in Anlehnung an den Wiener Japonismus meist ornithologische Blätter im Farbholzschnitt. Daneben entstanden zahlreiche Radierungen vorwiegend erotischen Genres aber auch Landschaften. [Attributes: Signed Copy]

      [Bookseller: GALERIE HIMMEL]
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        Murder In The House Of Commons

      London: Hamish Hamilton, 1931., 1931. First Edition. Octavo. Bound in publisher's pale blue cloth, with embossed titles to spine. Pictorial dustwrapper by V. Asta shows the House of Commons against a dark sky to front cover, titles to spine, and publisher's advertisements to rear cover; unclipped, originally priced 7s 6d. Binding shows well, with some bumping to corners and spine ends, textblock edges show some spotting. Internally clean, with no signs of spotting; the sealed 'destruction' portion at the rear of the novel is opened, with the seal partially present, including insert of publisher's plea to readers to share recommendations of the book. Dust wrapper has some small chips to corners and spine ends, one small area of loss to top edge of front cover, slight spotting to rear cover and tanning to spine. Set entirely within the House of Commons, and perhaps catering to a certain amount of wish-fulfillment on behalf of the British public, Hamilton's first detective novel draws on her own experience in the House as MP for Blackburn. The novel comes with a portion of the text sealed in blue paper, bearing the specific instruction "Do Not Break This Seal".

      [Bookseller: Adrian Harrington Rare Books]
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        "With deep respect and warm love still, as from one Master to another -" Frank Lloyd Wright and Lewis Mumford spar over his New Yorker article of the architect's work and life

      [Taliesin, Wisconsin & Philadelphia], 1931-1953. 7.75" x 5.5" to 8.5" x 13". "An archive of four pieces, 9 pages, ranging in size from 7.75"" x 5.5"" to 8.5"" x 13,"" [Taliesin, Wisconsin & Philadelphia],1931-1953 featuring a telegram from Frank Lloyd Wright to Lewis Mumford November 29, 1953; a contemporary copy of a letter by Mumford to Wright, December 3, 1953; a Typed Letter Signed, ""Eugene Masselink,"" 1 page, Taliesin, July 1, 1936 to Lewis Mumford; and a draft typescript of a 1931 article by John Irwin Bright, ""Modern Architecture by Frank Lloyd Wright"" with handwritten edits by Lewis Mumford. Light soiling, some minor marginal wear, light folds and creases, else very good.The collection features a testy exchange between Wright and Mumford over the latter's assessment of Wright's work, published in The New Yorker over two issues toward the end of 1953. Mumford had written to Wright on November 23, 1953 to let him know that he had completed ""one of the most difficult tasks I have ever attempted: a criticism of your life & work in architecture."" (Pfeiffer, Wojtowicz, eds., Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 2001, 240) The first installment appeared in The New Yorker that week, and the second piece appeared two weeks later on December 12, 1953. Five days later, on November 29, Wright responded in a telegram to Mumford: ""DEAR LEWIS: THOUGH I HAVE NOT SEEN THE ARTICLE I AM GLAD YOU ARE THE ONLY ONE REALLY QUALIFIED TO CRITICIZE STOP IT IS THE PSYCHOLOGICAL MOMENT AND WILL PROBABLY BE USED AS MY EPITAPH AFFECTION= FRANK LLOYD WRIGHT= ""Mumford's task was daunting to say the least. He attempted an even handed assessment of Wright's work, and in doing so, raised the issue of the architect's stubbornness, especially when it came to accommodating his clients. His first article opened with praise for his work and achievements, observing that by ""almost universal acclaim, Frank Lloyd Wright is the most original architect the United States has produced, and ?"what is even more important ?"he is one of the most creative architectural geniuses of all time."" Later in that first installment, he confessed, ""Speaking with all reverence for a great master... Wright's dwelling houses sometimes put me off by persuading me that he is thinking not of the client's need but the architect's own desires and delights."" Making a veiled reference to the hexagonal Hanna House in Palo Alto (1953), which he found oppressive after spending a few weeks in the home, he blames Wright's willfulness on his mentor Louis Sullivan: ""The quality was one of the unfortunate bequests of the Romantic movement, for it turned the artist into a Wagnerian superman, if not a god, whose intuitions became divine judgments, whose instinctive preferences became dogmas, whose worked finally became law. Wright, fully aware of his own arrogance, has gaily defended it on the ground that arrogance is more decent than simulated humility."" (Mumford, ""The Sky Line: A Phoenix Too Infrequent,"" The New Yorker, November 28, 1953, 133-139). While flying to New York, Wright read Mumford's article and dashed off a letter from the Plaza: ""Ready you 'appreciation' in the plane coming in last night?"both glad and furious?" Read? Insults my clients and myself?"I may be vain but I am not stupid?"neither are my clients.... So you talked to one [client] ?"one Paul Hanna. From him you got a false impression..."" (Pfeiffer, 242)Mumford replied from Philadelphia on December 3, ""I grieve that you have taken my New Yorker criticism so ill; for the best praise of a man's work is not which is unqualified, but that which remains after all qualifications. Once you have gotten over the shock of this report - in which I have dealt with your own life and work in the same loving but unsparing fashion I did with my own son's - I trust that you will be comforted by my writing, as perhaps the highest critical accolade that you have yet received. I wrote the second part of it two weeks ago, and finished revising the page proofs before your letter came; it will appear next week. Though it is in a sense an answer to your letter, it is an answer that anticipated it, by bringing out the essential differences between our respective philosophies of life. If the criticism of the second article strikes deeper and is even more painful, the praise, by the same token, rises higher. But on one matter I must set you right, if only to affirm Paul's unwavering loyalty to you. My judgment of your work has not been unduly affected by anything the Hanna's said to me, or by the fact that the Hanna house is the only house of yours I have lived in: it is based on the reports of other clients than Paul, and above all, on the evidence of your buildings themselves. What you say there is more unmistakable than any conversations, or even then your own well-considered works. With deep respect and warm love still, as from one Master to another -"" Both letters were published in Pfeiffer, Wojtowicz, eds., Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 2001.The archive also includes a draft of a review of Wright's 1931 book, Modern Architecture by John Irwin Bright,with edits in the hand of Lewis Mumford. The review appeared (without Mumford's suggested edits) in the August 1931 issue of The American Magazine of Art. The July 9, 1936 letter from Eugene Masselink, Wright's secretary at Taliesin, offers an invitation to visit Wright's Wisconsin studio with his family: ""Mr. Wright, I think, feels that 'urbanity' and urbanism might be getting the better of you and wants to reassure himself that New York is not the same poison to you as to all other men of genius.""Provenance: Lewis Mumford.Lewis Mumford and Frank Lloyd Wright first began corresponding in the 1920s, after Mumford had contributed an essay to the Dutch journal Wendingen in 1925 in which he discussed Wright's work as a continuation of a line of innovation begun by H. H. Richardson and Louis Sullivan as well as placing Wright in contrast to the European modernists like Le Corbusier. Mumford also characterized Wright's work as an ideal of form and expression ideally suited to the American landscape. An article along similar lines authored by Mumford for The American Mercury, elected a response from Wright in August 1926, in which the architect questioned the depth Mumford's understanding of his work. A set of exchanges culminated in their first meeting, a luncheon at the Plaza Hotel in New York, during the winter of 1926-1927 that would being a long and productive dialogue and friendship.This friendship, born of mutual respect and a love of argument, came under enormous strain in the years leading up the Second World War. Mumford, a liberal Democrat, viewed the rise of Nazism and Fascism anxiously?"as he detailed in numerous articles and two full-length works: Men must Act (1939) and Faith For Living (1940) . Wright held a different view. His general distrust of empire compelled Wright to take a stand against American involvement in the escalating European conflict that stuck many as merely isolationist?"a charge that the architect roundly rejected.The final straw for Mumford came in a broadsheet published by Wright: A Taliesin Square-Paper, subtitled as ""A nonpolitical voice from our democratic minority""), which declared ""HITLER IS WINNING THIS WAR WITHOUT A NAVY. We are facing a new kind of warfare that the British Empire, owing to traditional faith in a great navy, cannot learn in time even if we furnished the equipment... Our frontier is no longer England, nor in any sense, it is European. Our frontier is our own shores."" An infuriated Mumford shot back to Wright: ""You dishonor all the generous impulses you once ennobled... Be silent! lest you bring upon yourself some greater shame."" To this, Wright retorted: ""There is no good Empire, there never was a just war."" True to his principles, Wright remained steadfastly opposed to the Second World War, and war in general. Escalating the feud, Mumford published his response to Wright in the interventionist journal, the New Leader. The two did not speak for over a decade. The postwar period brought a thaw in their relationship, and Mumford remained a great admirer of Wright's work, despite their personal and philosophical differences. And Wright, despite Mumford's public shaming of the architect in print, continued sending New Year's greetings, unanswered by Mumford. However in the spring of 1951, Wright forwarded Mumford a copy of Sixty Years of Living Architecture, inscribed: ""In spite of all, your old F. Ll. W.""The gesture moved Mumford to respond and the two began the process of reconciliation. (Pfeiffer, 22-26)."

      [Bookseller: University Archives]
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        Le Potomak 1913-1914 précédé d'un Prospectus 1916 ENVOI AUTOGRAPHE

      Paris: Stock, 1931. Fine. Stock, Paris 1931, 12x19cm, broché. - New edition. Signed autograph of the author Odile Lespinasse enriched with a drawing representing the face of a young man in profile. Book illustrated with drawings of the author Text-out. Dos discolored as usual. - [FRENCH VERSION FOLLOWS] Nouvelle édition. Envoi autographe signé de Jean Cocteau à Odile Lespinasse enrichi d'un dessin représentant le visage d'un jeune homme de profil. Ouvrage illustré de dessins hors-texte de l'auteur. Dos décoloré comme habituellement.

      [Bookseller: Librairie Le Feu Follet]
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        The Ostwald colour album

      1931. OSTWALD, Wilhelm. The Ostwald Colour Album. A Complete Collection of Colour Standards for Use in Colour Specification and the Study of Colour Harmony. Arranged by J. Scott Taylor. 12 cards hinged together in pairs (i.e., 6 pairs). 8vo., each card 217 x 155 mm, together in publisher's green cloth slipcase, imprint information gilt on front and spine. London: Winsor & Newton, [ca. 1930]. |~||~||~| Series of colour diagrams in folding pairs, the charts made up of 704 individually mounted squares of coloured paper arranged in 14 series. Ostwald's rules of colour harmony are printed on the verso of plate 1, taken from his pamphlet Farbnormen und Farbharmonien (1925). Wilhelm Ostwald (1853-1932) was awarded the Nobel Prize for Chemistry in 1909; he was also an amateur painter who developed a strong interest in colour theory and published prolifically on the subject. Painstakingly produced, this edition of cards must surely have been limited to a small number. In the original slipcase.

      [Bookseller: Ursus Rare Books]
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        Peter Pan and Wendy Decorated by Gwynedd M Hudson

      London: Hodder & Stoughton, for Boots Pure Drug Co., c.1931., 1931. ORIGINAL BOARDS, FINE. ILLUSTRATED BY GWYNEDD M. HUDSON. Handsome recent binding, half navy morocco over original pictorial boards, blank endpapers. Boards in superb condition with design atttractively coloured in black and gilt, morocco in like with titles and author's name in direct gilt lettering to spine. Text block clean, with captivating illustrations throughout by popular illustrator Gwynedd M. Hudson. Publisher's statement reads 'Do you know that this book is part of the J.M. Barrie "Peter Pan Bequest"?...' with details of this volume's contribution to Great Ormond Street Hospital. Exceptionally well-preserved and captivatingly presented, the production of this item pays due respect to the book's status as a magical children's classic.

      [Bookseller: Adrian Harrington Rare Books]
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        Belle Chair. Onze Poèmes Inédits d'Emile Verhaeren illustrés de trois bois originaux et de douze lithographies par Arisitide Maillol

      Paris : Editions d'art Edouard Pelletan chez Helleu et Sergent, 1931. 4to. Original wraps with tears on spine. One of 50 copies on Monval à la cuve from the total edition 225 for sale, initialed and numbered in hand by the publisher. 12 original lithographs and 3 original woodcuts. Loosely inserted is a folder with a second suite of the 3 woodcuts on Japon à la forme. Guérin 60-62 (woodcuts ) and 293-306 (lithographs); Skira, 213; Rauch, 139; Carteret, IV, p. 390.

      [Bookseller: Alan Wofsy Fine Arts]
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        Lo!

      London: Victor Gollancz Ltd,, 1931. Octavo. Original black cloth, spine lettered in gilt. With the dust jacket. Foxing to edges and endpapers; an excellent copy in the faded and slightly soiled jacket with some nicks and chips to extremities. First UK edition, first impression. Originally published in the US earlier the same year. Perhaps Fort's most popular work, this is his third published non-fiction book, in which he is widely credited as having coined the term teleportation. Charles Fort (1874?-1932) was an American writer and researcher into examples of the occult, supernatural, and paranormal. Today, the terms Fortean and Forteana are used to characterize such anomalous occurences, and the International Fortean Organisation and the Fortean Times remain devoted to the phenomena he studied. The publisher's retained copy with a few minor annotations to the dust jacket and their stamp to the front panel of the dust jacket and the front pastedown. Scarce in the dust jacket.

      [Bookseller: Peter Harrington]
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        Portrait of Mohandas Gandhi. Original mixed media painting, signed and dated

      New York 1931 - 11 1/2 x 8 1/2 inches. Mounted to board and matt. Originally drawn for Vanity Fair in 1931; it was reprinted in their 85th Anniversary special issue, March, 1999, as one of their iconic caricatures, the style representing the spirit of the jazz age. "During the 1920's and 30's, the Italian Paolo Garretto was a giant of international advertising design and editorial art . his airbrushed caricature epitomized the Deco styling. His geometric design captured the romance of the industrial age. Paul Rand called him 'one of the world's most formidable draftsmen,'" Steven Heller, in Printr. [Attributes: Signed Copy]

      [Bookseller: Thomas A. Goldwasser Rare Books (ABAA)]
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        The World Crisis: The Eastern Front

      London: Thornton Butterworth Limited, 1931. First edition, first printing. Hardcover. This is the sixth and final book of Churchill's acclaimed history of the First World War and essential to filling a full set of British first editions. Scarcity owes to the fact that the first printing was just 5150 copies, as opposed to 7500 for the British first edition of each of the preceding five books. Consequently these are rarely offered outside of sets. In proposing the book to his publisher, Churchill wrote: "In the previous volumes of the World Crisis I have described only in a few pages the course of events in the Eastern theatre. They have merely been the background of our main drama of the war. But now I think I might write a volume called 'The Eastern Front', which would be separate from but supplementary to our five volume history." Here is the first British edition, first printing. This copy is in very good condition. The blue cloth binding is square with sharp corners, bright spine gilt, and only minor wear confined to spine ends and corners. We do note a small stain to the spine just below the volume number, a fractional loss of gilt to an "R" in the subtitle, and slight differential toning of the front cover top and upper fore edges, where perhaps a book lay askew atop this copy for an extended period. The contents remain quite clean for the edition, age-toned but with only a trivial hint of spotting confined to the fore edge. All illustrations and maps are intact, including the color folding map at page 368. We note a tiny Paris bookseller sticker to the lower front pastedown and an unobtrusive previous owner's circular embossed device on the lower front free endpaper. There is typical transfer browning to the half title from the pastedown glue. Bibliographic reference: Cohen A69.2(V).a, Woods/ICS A31(ab), Langworth p.105.

      [Bookseller: Churchill Book Collector]
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        Arbitrage in Securities

      New York and London: Harper & Brothers,, 1931. With an Introduction by Walter E. Lagerquist. Octavo. Publisher's maroon cloth, spine and font board lettered gilt, with the dust jacket. Tiny chip to the head of the dust jacket spine; an excellent copy, clean and fresh. First edition of "the first book to analyze and describe the methods of security arbitrage. How arbitrage is carried on with securities in the international markets and in equivalent securities is fully and simply explained" (dust jacket), written by an experienced arbitrage practitioner.

      [Bookseller: Peter Harrington]
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        Autograph letter and related ephemera.

      Boston, 25. X. 1931.. 6 pp. on wood-grained pattern stationery, with the matching lined holographic envelope. Includes a program for the Lehighton High School commencement, 5 June 1931, with Kline's name listed, and the Lehighton High School football schedule for 1929.. To Lavona Edgar, sharing news of life at Boston University: "I have a roommate. He's from Maine. Tonight we bought a Drip-o-Lite coffee percolator, so we laugh to each other while eating doughnuts & drinking coffee. Our mid-nite luncheon. He with me is a supposedly art student, half the time we don't know whether we're Budding Artists, or Blooming Fools, but we're happy and get along fine together.". - All three with signs of wear, some chipping, folds, fading.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Photo of Wanda Landowska at a harpsichord (11,5x14,4 cm), pasted on paper with autograph musik score in ink, with 4 bars, and signed dedication in ink to mr and madame Michaelsen, dated october 27 1934 (25x33 cm).

      - The photo signed Lipnitzki 1931. In frame. The dedicataion is: ?á mr et á madame Michaelsen souvenir cordial de la délicieuse sóareée du 27 october 19354 Wanda Landowska?, and the score with title ?Variatio 7 á l avvero 2 elan.? Wanda Landowska (1879-1959) famous Polish harpsichordist and pianist, whose performances and recordings greatly helped revive harpsichord music and enjoyment during the 20th century. In 1931, Landowska became the first to record Bach s Goldberg Variations on the harpshichord. Mr and mrs Michaelsen are probably Carl Johan and Vera Michaelsson, good friends and patrons of Carl Nielsen. He dedicated symphony nr 5 to them. [Attributes: Signed Copy]

      [Bookseller: Centralantikvariatet]
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        Der Mann ohne Eigenschaften. Erster Band in zweiter Auflage - zweiter Band in erster Auflage.

      Rowohlt, Berlin 1931 - ( Der erste Band hier in zweiter Auflage: 6.- 7. Tausend aus dem Jahre 1931 / Der zweite Band in erster Auflage aus dem Jahre 1933 = EA WG2 / 10 ) Der erste Band mit 1074 Seiten, 1 Blatt; der zweite Band mit 605 Seiten, 1 Blatt ). Jeweils in Oln ( Einbandentwurf von E. R. Weiss ), 8° ( 19,5 x 12,5 cm ). Der erste Bänd etwas fleckig und stockfleckig, berieben, der schmale Einbandrücken zum oberen Kapital hin leicht angeplatzt sowie hier mit kleiner Quetschfalte - der zweite Band gering fleckig, etwas gebräunt, sonst wohlerhalten. Innen jeweils von guter Erhaltung ( posthum erschien 1943 noch ein dritter Band der hier nicht vorliegt ). Zusammen 2 Bände. ( Gesamtgewicht 1550 Gramm ) ( Pic erhältlich // webimage available ) [Attributes: Hard Cover]

      [Bookseller: Antiquariat Friederichsen]
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        Emeutes en Espagne EDITION ORIGINALE Tirage de tête

      Paris: Les éditions de France, 1931. Fine. Les éditions de France, Paris 1931, 14x20cm, broché. - First Edition, one of eight ex numbered on Japan, ours with the No. 1 draw head. Rare and beautiful copy with all margins. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 8 exemplaires numérotés sur Japon, le nôtre portant le N°1, tirage de tête. Rare et bel exemplaire à toutes marges.

      [Bookseller: Librairie Le Feu Follet]
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        The Canterbury Tales. With Wood Engravings by Eric Gill

      Waltham St. Lawrence: Golden Cockerel Press, 1931. Gill, Eric. Four quarto volumes. 151; 189; 197; 219pp. One of 485 copies printed in red, black, and blue on handmade paper. Illustrated on every page with wood engravings by Gill, including leafy borders with figures, vignettes, and decorated initials. All of these are beautifully described by Colin Franklin as "affectionate and cheeky, erotic, enjoyable and relevant, decorative and explanatory, a balance of taste and eye." Bound in original morocco-backed patterned paper boards by Sangorski & Sutcliffe. Rubbing and light bumps to some corners. Boards are bright and spines show only slight color variances. Overall, a close-to-fine copy of a landmark press book that is seldom encountered without flaws. T.e.g. (Chanticleer 63; Gill 281; Franklin, The Private Presses, p. 144).

      [Bookseller: Bromer Booksellers]
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        The Writings of George Washington, from the Original Manuscript Sources, 1745-1799, in Thirty-nine Volumes

      US Government Printing Office, Washington, DC 1931 - Navy cloth bindings rubbed at spine ends & corners; some volumes cocked; a few boards scuffed & smudged; occasional dings to board edges; bookplates on front paste-downs; leaf edges foxed, else a very sturdy, tight & clean set. No djs. ; B&w frontis ils.; SOLD AS SET VOLUME SET ONLY. ; Large 8vo 9" - 10" ; 19,455 pages [Attributes: Hard Cover]

      [Bookseller: Hyde Brothers, Booksellers]
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        The Glass Key

      Knopf 1931 - A very good first edition in a good trimmed dust jacket with front flap detached but present. Small sticker and minor soiling on front free end paper. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        FROM RUBBER PLANTS TO RUBBERS

      TROSHIN. RUSSIAN. (DEINEKO AND TROSHIN) OT KAUCHUKA DO KALOSHI [FROM RUBBER PLANTS TO RUBBERS] by Olga Deineko and Nikolai Troshin. Moscow: Ogiz 1931. 4to, (7 3/4 x 9"), pictorial wraps, cover soil, faint margin stain, VG. The process of making rubber boots is shown from its African origins in the trees, through the factory process to the final product. Illus. in color in typical 30's style by Deineko and Troshin who were the husband and wife team who also collaborated on "USSR in Construction" (he was the artistic director throughout its run, she designed the magazine's first and recurring cover graphic). Their contributions to the scientific movement in Russian children's books is important. See Leveque: Dictionnaire p. 294.

      [Bookseller: Aleph-Bet Books, Inc.]
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        Little Black Sambo

      Harper Publishing Company 1931 - The Harter Publishing Company, Cleveland, OH 1931. First Edition Thus / First Printing. Stated First Edition November 1931, no additional printings. Illustrated with full page color plates. Rare Book. Book Condition: Very Good, tight spine, shelf wear. Age toning, light spots on the pages. [Attributes: First Edition; Hard Cover]

      [Bookseller: 1st Editions and Antiquarian Books]
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        Through the Dragon's Eyes: Fifty Years' Experiences of a Foreigner in the Chinese Government Service

      London: Constable & Co., 1931 - First edition, first printing. Octavo, 22.5*15.5*3.9cm, 348p. Profusedly illustrated. Ex-libray copy with a few markings, otherwise a fine copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Chinese Art Books]
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        New York The Wonder City. an illustrated story of New York with statistics and general data concerning New York's vastness, people, activities and New York's intimate inside life in the year 1932.

      New York: Wonder City Publishing, 1931 - Octavo. Original blue cloth boards, titles to spine and front board in dark blue. With the dust jacket. Spine gently rolled, light wear to cloth at extremities, in the dust jacket with chip to top end of spine, shallow chips to top corners, light wear to extremities. A very good copy. Illustrate with numerous black and white photographs throughout. First edition, first printing. A guide to all things New York City.

      [Bookseller: Peter Harrington. ABA member]
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        Waters Flowing Eastward

      Éditions R.I.S.S. 8, Avenue Portalis, Paris 1931 - First edition, with errata pasted to front pastedwown. Illustrated with b/w photos and facsimiles. 226, [1] pp. 1 vols. 8vo. CLASSIC ANTI-SEMTIC WORK. The first edition of this notorious work of anti-Semitism. Based largely on the Protocols of the Elders of Zion, Waters Flowing Eastward warns of a comming Jewish new world order. Brown printed wrappers. Tear to tail of spine, front hinge coming unglued. In glassine wrapper. With contemporary add for The Rebirth of Conservatism by Dorothy Crisp laid in Illustrated with b/w photos and facsimiles. 226, [1] pp. 1 vols. 8vo First edition, with errata pasted to front pastedwown. [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
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        FLEURS EN COULEUR D'APRÈS LA PHOTOGRAPHIE.

      Paris: Ch. Massin: , 1931. Paris: Ch. Massin 1931. With 35 plates in color printed by Catala frères. Loose in portfolio, as issued; 32.3 x 25 cm; 8 unnumbered pages + 35 plates from photographs enhanced in color pochoir. Original gold cloth backed portfolio, paper over boards, with title in gilt on upper cover, a bit scuffed and worn at extremities, cloth ties present;some pale foxing to text pages, mostly to margins; plates fresh and bright but for some oxidation on... examples.

      [Bookseller: Hinck & Wall]
 40.   Check availability:     Hinck & Wall     Link/Print  


        Frank Lloyd Wright sends Lewis Mumford copies of his correspondence with Raymond Hood on Wright's exclusion from participating in the 1933 Chicago World's Fair: " You don't need me in the fair ... and I don't need the fair ... " with lengthy postscript in Wright's hand

      Taliesin, 1931. 8.5" x 11". "An important series of three Typed Letters (unsigned), with one featuring a manuscript postscript in Wright's hand, 6 pages, 8.5"" x 11"", Spring Green, Wisconsin, and New York, New York, February 3-18, 1931. A tantalizing set of period copies, sent by Wright to Lewis Mumford, chronicling his testy correspondence with fellow architect Raymond Hood concerning the Wright's exclusion from the 1933 Chicago World's Fair. Light creases and a few marginal tears and folds, a few paperclip stains at top left, else very good.Raymond Hood (1881-1934), a friend and colleague of Wright's, perhaps best known for his work on Rockefeller Center in New York and the Tribune Tower in Chicago, had been chosen to serve as co-nominator for the Chicago fair's architectural commission. In the initial discussions Hood had with his co-chair, Paul Cret, Hood had decided to exclude Wright from participating in the project due to a perception that Wright was unable to work with others. Learning of this omission, the New Yorker's architectural critic, Lewis Mumford, leapt to Wright's defense, publishing a piece in the New Republic in January 1931, writing that the ""omission of Frank Lloyd Wright is serious. It is also very funny. As the years ago on the joke will seem funnier and funnier. 'Hamlet' without the Prince of Denmark could not be a more comical performance. Perhaps the largest claim that the distinguished architects now in charge of the Fair will have on the attention of posterity will be through this little omission."" Mumford's piece set off a firestorm of protest. And while Wright sought to appear above the fray and belittling the importance of the matter in general, he commenced a series of testy exchanges with Hood, sending Mumford the present copies to use as potential ammunition in a public forum concerning the dispute that was to be held at Town Hall in New York in March. (Pheiffer, ed. Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 2001, 15)On February 3, 1931, he warnedHood that a ""situation I don't like at all is growing up around my 'unemployment' in connection with the Chicago Fair."" After delivering a passive-aggressive jibe concerning ""the false assumption that the Fair is a public concern and representative of the country,"" he boils the problem down to the essentials. ""All I know directly about the situation is what you told me yourself. You said I was to do a building at the Fair,- and later I made a suggestion in that connection to which you replied in a note concerned also with other matters, asking me to 'leave it all to you'."" After more platitudes that he was above the fray, he asked Hood to write a letter that Wright could use at the Town Hall meeting, ""to put myself fairly and squarely where I belong and end the discussion once and for all."" Rather than do the same in the letter, Wright continued: ""I don't know of anything in my career that has been so insulting to me as an Architect or tow yourselves as well as the present impasse is becoming ... Let me have this straight ... You don't need me in the fair you are doing for Dawes [the Fair's chairman] and I don't need the fair in that connection either."" On February 16, Hood responded (and Wright provided a typescript for Mumford's edification), and confirmed Wright's suspicions: ""When we were making up the final nominations, [Paul] Cret proposed your name among the first. My reaction was that this must be a project directed by a commission of Architects and that you, temperamentally, did not fit on a commission. I felt that you were a strong individualist, and that if an attempt were made to harness you in with other architects, the result would be more apt to be a fight than a fair."" In a bid to reassure Wright, and perhaps in an effort to salvage their personal friendship, Hood assured him that ""it has always been the intention of the commission to call in other architects to help, and your name has constantly been under consideration. But those of us who want you in on the fair still feel that it must e where you can work independently, without being obliged to correlate your work with the work of some other architect. And in the part of the work that has gone ahead up to know, such a job has not occurred."" Wright's response, likely written the day as it was received on February 18, was short and to the point: ""Your plea of guilt puts me, where frankly, I now prefer to belong outside."" Essentially admitting he was a difficult collaborator, he admitted to Hood, ""You were the man I wanted to work with, because I felt I could trust you. The others of course are unknown to me. This hope, false,- I feel I can e more useful to Architecture in our country - definitely as well as politically free. From any connection with the Fair."" As to Hood's assurance that they were on the lookout for a project that would prove compatible to Wright's temperament, he admonished him to ""Stop looking for something to turn up that will leave me out and take me in."" Following his conclusion, Wright handwrites a bitter postscript: ""P.S. I only regret that you kept this from me so long - and so skillfully."" In his autobiography, Wright recalled the ""packed"" meeting at Town Hall held in March 1931: ""At once the meeting took on an air of laughing gaiety. But that changed when Lewis Mumford got up to speak. With the essential manliness and nobility seen in the man as seen in his work he made no attempt to be apologetic or conciliatory. He was earnest and seriously wrote down the matter of the Fair where modern architecture was concerned more clearly and effectively than I had done the evening before."" (Wright, An Autobiography, 1943, 352). Despite the efforts of Mumford and other supporters, Wright remained excluded from the Chicago World's Fair, also known as A Century of Progress. A masterful correspondence between two architectural titans?"and a wonderfully vivid demonstration of Wright's enormous ego at work. "

      [Bookseller: University Archives]
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