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

        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]
 1.   Check availability:     IberLibro     Link/Print  

        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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      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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      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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        Thirteen papers, all first editions, in Ergebnisse eines mathematischen Kolloquiums, unter Mitwirkung von Kurt Gödel und Georg Nöbeling. Herausgegeben von Karl Menger. Heft 1-5].

      B.G. Teubner 1931-33, Leipzig & Berlin - First editions, and a fine set in the original printed wrappers, of these rare proceedings to which Gödel contributed thirteen important papers and remarks on the foundations of logic and mathematics (see below for a complete annotated listing). The most important are perhaps ‘Über Vollständigkeit und Widerspruchsfreiheit’ (‘On completeness and consistency’) in Heft 3 and ‘Zur intuitionistischen Arithmetik und Zahlentheorie’ (‘On intuitionist arithmetic and number theory’) in Heft 4. Based on the lecture at the Colloquium required for his Habilitation, in the first paper Gödel presented a different approach to his epochal incompleteness theorem, published just a few months earlier in Monatshefte für Mathematik: instead of Russell’s theory of types, in the present version he used Peano’s axioms for the natural numbers; this soon became the standard approach. In the second paper, Gödel proved that intuitionist mathematics is no more certain, or more consistent, than ordinary mathematics. "By invitation, in October 1929 Gödel began attending Menger’s mathematics colloquium, which was modelled on the Vienna Circle. There in May 1930 he presented his dissertation results, which he had discussed with Alfred Tarski three months earlier, during the latter’s visit to Vienna. From 1932 to 1936 he published numerous short articles in the proceedings of that colloquium (including his only collaborative work) and was co-editor of seven of its volumes. Gödel attended the colloquium quite regularly and participated actively in many discussions, confining his comments to brief remarks that were always stated with the greatest precision" (DSB XVII: 350). Working under Hans Hahn, Karl Menger (1902-85) received his PhD from the University of Vienna in 1924 and accepted a professorship there three years later. "During the academic year 1928/29, several students asked Menger to direct a Mathematical Colloquium, somewhat analogous to the philosophically motivated Vienna Circle . This Colloquium, which met on alternate Tuesdays during semester time, had a flexible agenda including lectures by members or invited guests, reports on recent publications and discussion of unsolved problems. Menger kept a record of these meetings, which he published, regularly in November of the following year, under the title ‘Ergebnisse eines mathematischen Kolloquiums’. "Gödel had entered the university in 1924, and Menger first met him as the youngest and most silent member of the Vienna Circle. In 1928, Gödel started working on Hilbert’s program for the foundation of mathematics, and in 1929 he succeeded in solving the first of four problems of Hilbert, proving in his PhD thesis (under Hans Hahn) that first order logic is complete: Any valid formula could be derived from the axioms. "At that time Menger, who was greatly impressed by the Warsaw mathematicians, had invited Alfred Tarski to deliver three lectures at the Colloquium. Gödel, who had asked Menger to arrange a meeting with Tarski, soon took a hand in running the Colloquium and editing its Ergebnisse. "Menger was visiting the USA [in 1931] when Gödel discovered the incompleteness theorem and used it to refute the remaining three of Hilbert’s conjectures. He learned by letter that Gödel had lectured in the Colloquium ‘On Completeness and Consistency’. This was the lecture required for Gödel’s habilitation. The paper required for the same procedure, ‘On the undecidability of certain propositions in the Principia Mathematica,’ had been published in Hahn’s ‘Monatshefte’. In his Colloquium lecture, Gödel presented a simpler approach. Instead of Russell’s theory of types, he used Peano’s axioms for the natural numbers. This soon became the standard approach "Menger was particularly fond of Gödel’s results on intuitionism. These vindicated his own tolerance principle. Specifically, Gödel proved that intuitionist mathematics is no more certain, or more consistent, than ordinary mathematics (‘Zur intuitionistischen A [Attributes: First Edition]

      [Bookseller: SOPHIA RARE BOOKS]
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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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      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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      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]
 29.   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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        LE PETIT CHASSEUR DE PANTHERES - 62 NUMEROS - DU N°2 AU N° 67 - numeros manquants: 1, 16, 26, 41, 53.

      IMP. LOUIS BELLAND ET FILS 1931 - RO20183561: 62 numeros de 20 pages environs par numero - quelques illustrations en noir et blanc dans et hors texte. numeros manquants: 1, 16, 26, 41, 53, In-4 Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais Classification Dewey : 840-Littératures des langues romanes. Littérature française [Attributes: Soft Cover]

      [Bookseller: Le-Livre]
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        Ein Mensch ward geboren. Ein Mensch im leben. Ein Mensch am ende. (Three volume set)

      1931, 1932 and 1934. Cloth. Near Fine. Extremely scarce, virtually entirely unprinted "novel without words" employing paper-cuts (probably using linoleum), which approximate the look of woodcuts, in its depiction of modern man versus the impersonal, de-humanizing and ruthless modern state. 8vo. Square 21 cm. Each volume has a title page, 18 leaves of content, and a page containing the issue date. In the first volume, the first five leaves following the title contain text, followed by 12 leaves of illustrations. In the two subsequent volumes, there are no text leaves but 17 leaves with illustrations in each. Only the titles on the front boards and the spine look as if they were possibly printed, but probably were not. Everything else, including all the lettering on the title pages, the date pages and the little bit of text, is of these custom cut-outs, each of which measures 7 cm square. While the medium of linoleum cuts (or whatever material was used) may not lend itself to sharp detail, the artist here actually achieves astonishingly minute detail. The compensating virtue of the material is that it so effectively conveys a stark rawness is in keeping with the grim horrors of the story. The medium also works well when the artist is playing with patterns to form what might be referred to a diaper, or a repeat, of the imagery. An example is the artist filling the frame with interchangeable heads, or identical machinery lined up, one after the other, both of these images that bring to mind an Escher geometric configuration. As a novel without words, the narrative has some ambiguity, and that was surely intended, to allow for alternative interpretations, but unquestionably the artist was casting a jaundiced eye at the evils of modern society. The little bit of text in the birth volume recounts that a mother in labor by a bridge is brought to a hospital but is cast off because she is Czech and gives a harrowing birth by the bridge. In the following volume, a boy grows up, experiences various indignities, finds romance, finds employment, it would seem, in a factory, and becomes some sort of union agitator. Or so that is our read of the images. What is made plain is that at no point is there not pain, suffering or cruelty, including in the episode suggesting sexual intercourse. In the third volume, the man is arrested, persecuted and shot. And it is here most suggestively the artist would be seem to warning of the dangers of Fascist and Totalarianism. And in doing this, surely the artist was early in addressing the darkening clouds that were descending on Europe. If this would seem to be informed by hindsight, we would point out that a few farsighted writers were sounding the same alarm about the same time, such as the Italian author, Corrado Alvaro. Arguably, the boy and young man depicted was meant to be Jewish -- it isn't clear whether he is wearing a yamulka or not -- which would add further poignancy to the story, as well as mark the author as particularly perspicaciously, but we can't assert this with complete confidence. Unfortunately, we do not know the identity of the author/artist other than the initials cut into the material, and even these initials are not 100 percent clear.

      [Bookseller: White Fox Rare Books and Antiques]
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        [Photo Album]: German and English Motordrome

      1931. Oblong octavo. String-tied reddish-brown leatherette album with faux alligator pattern. Contains 36 black and white photographs, both tipped-in and loose, measuring between 3" x 2.25" to 8.25" x 6.25". The album also includes a folded 17.75" x 30" German broadside, various German newspaper clippings, Parr's ID card, his cut paper silhouette, exhibition tickets, and a Wall of Death postcard advertising the sideshow. Very good with moderate rubbing to the edges and with some toning and soiling to a few of the photographs.A photo album and scrapbook created by German motorcycle stunt rider Johnny Parr who performed in the motordrome carnival sideshow, aka the Wall of Death, in which a person rides a motorcycle inside a cylindrical room as high as 30 feet off the ground and is held in place by centripetal force. The trick started at Coney Island in the early 1900s, becoming a sideshow staple around America before spreading to England and Europe. There appears to be little information on Parr outside of this album which shows that he performed in the early 1930s around Germany (Wismar, Berlin, Grohn, Kiel), England (Scarborough, Leicester, Blackpool), France, and Sweden. The album show him with other riders, including Gene Shumway, William Ames, and Kitty Muller, with whom he performed tricks, as well as photos of fairs, various motordromes (with one under construction), standing by his bike, performing tricks, and with a sideshow barker before a crowd. There are also a few additional loose photos of the sea and a group of women dressed in 16th Century period garb. The best photo from the album is a wonderful image of a group of riders who performed in Scarborough, England in 1930 made up of a mix of American, English, and European riders, including Parr, posing under signs that read "Wizards of the Wall," with the town name incorrectly spelled "Scarboro." A wonderful collection of images of a traveling German daredevil in the early 1930s. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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      Grosset and Dunlap, 1931. Hardcover. Very Good/Good. Grosset and Dunlap, New York 1931. First Photoplay Edition. Dated 1897 but published in 1931 to coincide with the release of the film. Red cloth boards. Illustrated with scenes from the film. In the rare dust jacket. Book Condition: Very Good+, tight spine, soft shelf wear, light spots. Light age toning at the endpaper, stamped rental library at the front endpaper. Dust Jacket Condition: Good+, chipping, age toning, short tears, spots. Shadow of the endpaper stamp transferred lightly to the front flap. Tape at the head & foot of the jacket at the reverse side. Wrapped in a new removable mylar cover.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
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        Parallà lement. Vingt-trois eaux-fortes originales de Édouard Chimot.

      1931 - Large 4to (c. 330 x 250 mm). Loose and entirely uncut in the original printed wrappers; pp. [4, blank], [2, half-title and limitation], [2, blank], [2, title printed in red and black], 147, [3], 23 full-page etchings with aquatint (some colour-printed or tinted) in the text; spine of wrappers a little rubbed and worn, remnants of contemporary half-calf folder and slipcase; a few leaves with marginal blue ink spots. Privately printed, number XVI of the 23 copies on japon ancien reserved for the artist (total printrun 198 copies), with Chimot's aquatint etchings in the first state, second state printed in sanguine with remarques, the second state with remarques, printed in black, the final state, and one plate in all states (dossier), limitation signed by the artist, a few manuscript notes in the artist's hand on folder of the dossier. This set not only comprises the additional versions of the illustrations but in the dossier complet d'une planche all stages of the plate to Prologue d'un livre, including the copperplate, a first charcoal and bistre study, the pencil drawing for the etching, signed by the artist, an early proof of the etching combined with the text, altogether, apart from the copperplate and the print in the book, 14 different stages of this particular plate. The French artist, book illustrator, printmaker (exclusively etchings) and editor Édouard Chimot (1880-1959) rented a studio in Montmartre, haunted by 'jeunes et jolies femmes,' his models. He began to illustrate texts; however, the First World War interrupted his career. After the War he was able to rent Renoir's old atelier, where he produced etchings alongside decadent literature as well as Henri Barbusse. From 1923 to 1931, as artistic director of Les Éditions d’Art Devambez he oversaw the production of many outstanding illustrated private press books but reserved some texts for his own art as etcher and printmaker, among them this collection of erotic poetry by the symbolist poà te maudit Verlaine, which had been published first in 1889 and ever since has tempted book illustrators to publish their art alongside the poems. During the roaring '20s in Paris, Chimot became a central figure of the Jazz age with many connections to artistic and literary circles, including the Surrealist movement. He even embarked on film-making in 1924. Parallà lement is his last French limited edition artistic book production; the Wall Street Crash of 1929 had eliminated the economic basis for such productions for a long time. He later settled in Spain and continued illustrating books. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Henry Sotheran Ltd]
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        Dos Oraciones a la Virgen

      Impreso por C. Rodríguez Pintos 1931 - Ejemplar dedicado por Rafael Alberti y Carlos Rodríguez-Pintos al escritor uruguayo Carlos Martínez Moreno en Montevideo 1938. (Ver fotografías).Ejemplar numerado 164 sobre 325. Ejemplar en buen estado, Conserva sobrecubierta original con algunos detalles. WE SEND (free of charge) video demonstration of the conservation status of the book. ENVIAMOS (a solicitud y sin cargo) video de demostración del estado de conservación del ejemplar. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Eduardo Martínez Moreira]
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        Exhibition of the Work of Negro Artists [together with;] Exhibition of Productions by Negro Artists [&;] Negro Artists: An Illustrated Review of their Achievements.

      New York: Harmon Foundation, 1931-5 - 3 volumes octavo. Wire-stitched in the original pictorial paper wraps. A little rubbed and soiled on the wraps, small chip to the upper panel of the last named, small inked bookseller's prices to the first leaf of two, but overall very good. Profusely illustrated. First, and only, editions of these uncommon exhibition catalogues. Established in 1922 by real estate magnate William B. Harmon, the Harmon Foundation "was the most influential social organization of the twentieth century that promoted and exhibited art by Negroes [&] the major resource for the financial support of Negro artists from 1926 to 1933 [striving] to keep the momentum of excitement around Negro American culture from the Harlem Renaissance and turn it into a narrative of social progress during the late 1920s and into the 1930s" (Cooks, Exhibiting Blackness: African Americans and the American Art Museum, p.11). The catalogues include work by Sargent Johnson, Malvin Gray Johnson, Laura Wheeler Waring, Archibald Motley, Nancy Elizabeth Prophet, and Richmond Barthé. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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      Paris: Emile-Paul frères, 1931. Fine. Emile-Paul frères, Paris 1931, 19x24,5cm, relié. - First edition illustrated with 6 original dry points of Ploughman, one of 200 numbered copies on Arches paper, one draw with 15 and Japan 35 Netherlands. Bound in half shagreen chocolate corners, back to seven nerves set with black netting, when golden tail, flat paper marbled, very light scratches without gravity on the front cover, guards and contreplats paper moiré, covers and spine preserved , bookplate gilded head, glue the back of the first board. Our copy is enriched with an original etching by Jean Emile Ploughman he signed in pencil and mounted on tab. Guards shaded, pleasant inner state. --- 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 illustrée de 6 pointes-sèches originales de Laboureur, un des 200 exemplaires numérotés sur Arches, seul tirage avec 15 Japon et 35 Hollande. Reliure en demi chagrin chocolat à coins, dos à sept nerfs sertis de filets noirs, date dorée en queue, plats de papier marbré, très légères éraflures sans gravité sur le premier plat, gardes et contreplats de papier à effet moiré, couvertures et dos conservés, tête dorée, ex-libris encollé au verso du premier plat. Notre exemplaire est enrichi d'une eau-forte originale de Jean Emile Laboureur qu'il a signée au crayon de papier et montée sur onglet. Gardes ombrées, agréable état intérieur.

      [Bookseller: Librairie Le Feu Follet]
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      New York: Grosset & Dunlap, 1931. Glasmon, Kubec & Bright, John. THE PUBLIC ENEMY. NY: Grosset & Dunlap, [1931]. First Edition, photoplay novelization of the famed 1931 James Cagney classic gangster film. A Near Fine copy, only the tiniest of blemishes (virtually no wear, bright green topstain unfaded). Really excellent for an example without the exceedingly rare DJ. With four black & white stills from the movie. INSCRIBED BY JAMES CAGNEY in January 1966 to "Edna & Jack Cordes/with all good wishes/ James Cagney." THE PUBLIC ENEMY (voted by the American Film Institute as the 8th greatest crime film in American film history) was a 1931 American Pre-Code crime film starring James Cagney and directed by William A. Wellman. The film tells the story of a young man's rise in the criminal underworld in prohibition-era America. Co-starring Jean Harlow, Edward Woods, Joan Blondell, and Mae Clarke. The screenplay is based on a never-published novel by two former street thugs: "Beer and Blood" by John Bright and Kubec Glasmon (who had witnessed some of Al Capone's murderous gang rivalries in Chicago!) A remarkable book in itself, one of those rare Grosset & Dunlap publications (like King Kong) which actually served as a first edition. And to find it signed by its star James Cagney? An ideal book for the film source collector. . Signed. First Edition. Hard Cover. Near Fine.

      [Bookseller: Lakin & Marley Rare Books]
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        Arte decorativa navale di Anselmo Bucci

      Milano , CESCHINA, 1931 - XCI tavole in nero. 8vo. pp. 66 + tavole. . Ottimo (Fine). . Prima edizione (First Edition). . ''Il Cap. Mario Taddei - Direttore Generale della Navigazione Libera Triestina - ha avuto la geniale idea di dare forma artisticamente originale e caratteristica a tre navi della flotta della Società. A conseguire tale scopo, nessuno era più indicato di Anselmo Bucci, dotato di grande versatilità artistica. Postosi al lavoro, Anselmo Bucci seppe essere architetto, pittore, falegname, fabbro, vetraio e ceramista, cosicchè dalla sua mente e dalle sue mani uscirono in breve quei mirabili complessi decorativi che sono il Timavo, con intonazione prettamente classica, il Duchessa d'Aosta con decorazione di carattere medioevale, e il California di tipo prettamente moderno e di ispirazione navale''. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Marini ALAI - ILAB]
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        When the Daltons Rode

      Garden City: Doubleday, Doran & Company. 1931. First printing. Hardcover. Very Good. Signed and dedicated by Emmett Dalton on the verso of the frontispiece. First edition, 1931. Hardcover, 313 pp., illustrated, clean unmarked text, Very Good copy, a bit of soiling and general age-toning to the pages, light rubbing and wear to the tips of the covers, no dust jacket. Rare signed like this!

      [Bookseller: Caliban Books ABAA-ILAB]
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        Je Découpe

      Flammarion, Paris 1931 - Small quarto. (24)pp., + (10)ff. First edition. Features eleven full-page illustrations showing natural and household scenes as sample collage compositions, along with glossy decoupage paper in five colors for children to create the scenes for themselves. This activity book for children was one of two published by artist Nathalie Parain in 1931, revolutionizing visual art in children's publishing. Parain's work encouraged children to use their imaginations by experimenting with shapes and colors to create their own art, and eventually sparked the popular children's series Albums de Père Castor. Bound in colored pictorial wrappers; original decoupage papers intact. Very fine copy of this scarce work, with some tanning and the slightest edgewear. Together with: Parain, Nathalie. My Cut-Out Pictures. London, Tate Publishing, 2014. Small quarto. This newly published English version is in very fine condition. [Attributes: First Edition; Soft Cover]

      [Bookseller: Bromer Booksellers, Inc., ABAA]
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