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

        The Wind in the Willows. Illustrated by Ernest H. Shepard.

      London: Methuen & Co., (1931).. First Shepard edition, 8vo, (vi), 312, 8 advertisement pp. Black and white illustrations throughout, map endpapers, with neatly cut out remnants from the d.w. - some foliage, Toad's caravan and the Rat pasted to the front blank, half title and contents leaf respectively. Original green cloth, gilt vignette to upper cover, some very light rubbing to corners and foot of spine, an excellent copy.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
 1.   Check availability:     UKBookworld     Link/Print  


      Jonathan Cape & Harrison Smith NY: Jonathan Cape & Harrison Smith, (1931). First edition, first issue, first binding. This is Faulkner's sixth novel, which marked his first commercial success. The story was bought by Paramount in 1932 and was adapted twice for film as "The Story of Temple Drake." As with other titles from this era, copies of this book are difficult to obtain in fine condition. This is a very fine copy in a very fine dust wrapper, which shows a couple of minor areas of restoration.

      [Bookseller: Bromer Booksellers ]
 2.   Check availability:     ABAA     Link/Print  


      New York: Covici-Freide, 1931 First Edition. A solid First Edition copy of this very scarce and sought-after philosophical book written by the great physicist Albert Einstein. Einstein argues for a "cosmic" religion not based on rules of doctrines or specific views of "God". he argues that science and religion are compatible and that science is the basis for a more enlightened religion. This book also includes essays on Pacificism, Disarmament, Zionism, and even the new influence of the radio. A fine copy in a very nice example of the very uncommon dustwrapper which has had a few chips professionally restored. Of particular note is the light weight, easily damaged grade of stock used for the wrapper. Extremely Nice. Custom slipcase in fine condition. From the text: "... The religious geniuses of all times have been distinguished by this cosmic religious sense, which recognizes neither dogmas nor God made in man's image. Consequently there cannot be a church whose chief doctrines are based on the cosmic religious experience. It comes about, therefore, that precisely among the heretics of all ages we find men who were inspired by this highest religious experience; often they appeared to their contemporaries as atheists, but sometimes also as saints. Viewed from this angle, men like Democritus, Francis of Assisi, and Spinoza are near to one another. How can this religious experience be communicated from man to man if it cannot lead to a definite conception of God or to a theology? It seems to me that the most important function of art and of science is to arouse and keep alive this feeling in those who are receptive. Thus, we reach an interpretation of the relation of science to religion which is very different from the customary view... Neither the religion of fear nor the social-moral religion can have any hold on him. A God who rewards and punishes is for him unthinkable, because man acts in accordance with an inner and outer necessity... Science in consequence has been accused of undermining morals- but wrongly. The ethical behavior of man is better based on sympathy, education and social relationships and requires no support from religion From the Biographical Note: "Albert Einstein, discoverer of the theory of relativity, and one of the greatest thinkers of the modern era, was born at Ulm, on the Danube, March 14, 1879. His early years were spent in Munich where his father had become part owner of an electro-technical plant, and it was here that the boy, who, curiously enough, showed no extraordinary aptitude or brilliance as a student, nevertheless received the initial impulses which turned his thoughts to physics...Nevertheless, the world has insisted on according its recognition to his genius. He won the Nobel Prize for Physics in 1921 and in 1926 the Royal Astronomical Society of London presented him with its gold medal. He has been honored by in-numerable scientific and education institutions and has received the homage of the most distinguished and prominent men of his time. His first long tour, in 1921, which led him to America, was in the nature of a triumphal procession and has been eclipsed only by the welcome which greeted him on his second visit to the United States in 1930. He stands unique and supreme among his contemporaries--the greatest mind and one of the most lovable men alive..." Contents include: Biographical Note; An Appreciation; Cosmic Religion; Pacifism-Militant Pacifism, Disarmament, Notes on pacifism; The Jews-the Jewish Homeland, Address Delivered in London 10/27/30, before the Ort and Oze Societies; Opinions and Aphorisms-On radio, On science, miscellaneous.. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
 3.   Check availability:     IOBABooks     Link/Print  

        Geological Map of the Commonwealth of Australia. [with] Explanatory Notes to Accompany a New Geological Map of the Commonwealth of Australia...

      Sydney: [Map] Commonwealth Council of Scientific and Industrial Research; [Book] Australasian Medical Publishing Company, 1931, 1932.. First edition. A fine very large folding geological map in four parts, the overall dimensions of each measuring 80 x 98.5 cm, thus 160 x 197.5 cm. Each part dissected into 18 sections and mounted on linen, patterned green paper to the folded end sections with number labels affixed, the maps fold into the original green cloth slipcase, the publisher's title label to the upper board featuring a key map to the sheets, silk pull out ribbon. The accompanying book, which is also housed within the slipcase: 8vo. (iv), 177, (1) pp. Original printed green wrappers. 11 tables, of which 9 are folding, 1 is full page and 1 is a half page, plus 10 figures, maps etc. set into the text. The discreet ink ownership stamp of Lt. Colonel A. Delmé-Radcliffe, D.S.O., to the upper cover and repeated to two of the first few pages, the head of the title page bearing the neat handwritten date of 1-10-1932. The slipcase worn at the edges and cracked at the head of one of the lower joints, but holding and sound, the map and book in very good condition. Featuring two inset maps of the Admiralty Islands and New Ireland plus another of Tasmania, there are also numerous geological cross sections to the overall edges of the maps.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        Night Clubs

      New York: Alfred A. Knopf, 1931. First Edition. Octavo. With 16 black and white photographic illustrations, including a few excellent shots of NYC club life. Edge of one page torn, else near fine in a close to near fine jacket, very bright, with a few tears repaired by tape at the verso, and tiny chips at the spine head. A lovely example of this great jacket.

      [Bookseller: Harper's Books, Inc.]
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      1931. 2. (STERRETT,VIRGINIA)illus. ARABIAN NIGHTS edited by Hildegarde Hawthorne. Philadelphia: Penn Publishing Co. (1928). Large thick 4to (9 1/4 x 11 1/4"), 308p.,blue gilt cloth, pictorial paste-on, spine lettering dulled else VG+. 1st edition. Illustrated by Sterrett in a style similar to Nielsen and Dulac with cover plate, pictorial endpapers and title page, 16 magnificent color plates and 20 partial page black and whites. Arabian Nights proved to be Sterrett's last book, done while she was in a sanitorium for her tuberculosis. Although she recovered from this bout, it recurred and she died in 1931 at the age of 31. Sterrett's style is well suited to the stories of the Arabian Nights and this is a nice copy.

      [Bookseller: Aleph-Bet Books, Inc. ]
 6.   Check availability:     ABAA     Link/Print  


      London: William Heinemann; New York: Random House, 1931. ONE OF 525 COPIES SIGNED BY THE ARTIST AND TRANSLATOR (this is copy #148). One of Gooden's Greatest Achievements,This Copy Accompanied by Eight Signed Proofs 260 x 171 mm (10 1/4 x 6 3/4"). Two volumes, plus portfolio of proofs. Translated by Edward Marsh. Publisher's full vellum, flat spine with gilt titling, edges untrimmed and UNOPENED. In the original(?) gray-green textured buckram slipcase. 26 FINE ENGRAVED ILLUSTRATIONS BY STEPHEN GOODEN (including the two engraved title pages), AND WITH EIGHT SIGNED AND NUMBERED PROOFS, each mounted in an archival mat. Vellum with naturally occurring variations in color and grain (as usual with this edition), joints with minor pitting (from insects?) in three small areas, one tissue guard with three-inch tear, otherwise especially fine, the bindings without the usual splaying, and the unusually bright and fresh text--which has obviously never been read--in virtually mint condition. The copper engravings of Gooden (1892-1955) are among the most beautiful book illustrations of his day. Horne says that he was a "literary" artist who was sensitive to the form of the book, aware of the possibilities of its page for decoration, and able "to appreciate the quality of the books he illustrated." He had "an imaginative grasp of the subject matter, and his witty and elegant illustrations are finely engraved and inventive in design." The present handsome publication was the first to show Gooden as a masterly engraver of animals. Our copy is accompanied by eight individual proofs signed by the artist: the two title pages plus six vignettes. The translation by scholar and critic Edward Marsh is also deserving of praise. Classe, in the "Encyclopedia of Literary Translation into English," observes, "This is a translation of the complete work and the renderings are excellent. Marsh brings to the task an observant eye and a sensitive ear. He follows the originals accurately, yet the English is not strained or artificial . Those fables that used a light touch get it, but those that require a graver note are equally well served." Our copy is obviously unread and in as close to original condition as one could hope, the original sturdy slipcase having prevented the bowing sometimes seen in the vellum boards.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Untitled [Snowy Herons]

      Basil Ede AN ORIGINAL OIL PAINTING BY THE TWENTIETH CENTURY'S MOST CONSUMMATE ORNITHOLOGICAL PAINTER, BASIL EDE Oil on canvas Canvas size: 30" x 40 1/4" Framed size: 32 3/4" x 46 1/2" This is a magnificent bird portrait by the twentieth century's most consummate ornithological painter, Basil Ede. Not since John James Audubon has an artist so successfully crafted such intricately detailed and elegant compositions of birds situated in their natural environments. Ede fully animates his subject matter, depicting them in life-like poses and using bold and vibrant colors. Furthermore, each of the birds' forms and plumage has been painstakingly and masterfully rendered. The exotic bird seen in this painting by Ede are native to the American Southeast. Ede was born in Surrey, a town in the English countryside, in 1931. It was there that Ede developed a love for nature, and where he received his first instruction in natural history drawing. Like Audubon and Mark Catesby before him, Ede traveled extensively during his life. At 25 he traveled to Far East Asia as a ship's purser. This expedition introduced Ede to Oriental Art, a style of art that would greatly influence his own in the future. In 1958 Ede began exhibiting at Tryon Gallery, the first specialist wildlife gallery established in London. In 1964, he exhibited at the Smithsonian's Collection of Fine Arts. The institution had never before sponsored a show for a living artist. The following year Ede published his multi-edition Birds of Town and Village, which contained 36 plates of birds. In 1979 Jack W. Warner, CEO of Gulf Paper States Paper Corporation in Tuscaloosa, Alabama, commissioned Ede to produce a series of paintings documenting every living North American bird. It took Ede more than a decade to complete the project. Ede's works have also been featured at a number of New York City galleries, and have been sponsored by the British Embassy, the Audubon Society, and the World Wild Life Fund. Ede is currently a member of the Society of Wild Life Artists. Nearing 76 years of age, Ede has no doubt succeeded in breathing new life into a classic subject, raising the bar ever higher for twentieth-century bird painting. Perhaps Carl W. Buchheister, President Emeritus of the National Audubon Society, has summed up Ede's remarkable talent best. In a preface to the 1981 book, Basil Ede's Birds, he wrote: "Technical ability is, to be sure, essential for the artist, but to impart lifelike qualities and personality to one's subjects requires the abilities of the true master.This can be acquired only from long hours in the field, in an intimate study of the living bird.Every Ede painting gives eloquent manifestation of such knowledge and understanding.". Book.

      [Bookseller: Arader Galleries]
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        Far Away and Long Ago. A History of my Early Life. With wood engravings by Eric Fitch Daglish, and an introduction by R.B.Cunninghame Graham. (SIGNED LIMITED EDITION).

      J.M.Dent & Sons, London, 1931.. 1st Edition. Hardcover. Very Good. Signed by Illustrator(s) Limited Edition. One of only 110 hand-numbered copies (100 of which were for sale). Printed at the Temple Press, Letchworth. 337pp. Full vellum with gilt lettering to spine and a gilt owl illustration to upper board. Top edge gilt, others untrimmed. With a frontispiece and eleven full-page wood engravings and numerous additional illustrations in the text. Plus an additional tipped-in wood engraving SIGNED by Daglish. Vellum quite marked and boards just beginning to bow as is customary with this material. Minor crease to head of spine. The lightest smattering of foxing to front and rear endpapers, else a fine copy internally. No dust wrapper, as issued. A magnificent and very scarce volume. Eric Fitch Daglish (1892-1966) was a member of the society of Wood Engravers and a close friend of Eric Gill and John and Paul Nash. A celebrated book illustrator, Daglish produced the artwork for his own nature books as well as supplying bespoke artwork for other publications, most famously the wood engravings accompanying the 1927 issue of Issac Walton's Complete Angler.

      [Bookseller: Clearwater Books]
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        L'Europe contre les patries

      Paris: Gallimard, 1931. Broché. 12x19cm. Edition originale imprimée à 2270 ex numérotés sur alfa. Bel envoi autographe signé de l'auteur à Pierre Dominique : "en attendant Alexandre et Auguste, ou mieux." Dos bruni comportant trois petits manques, exemplaire exempt de rousseur. - Gallimard, Paris _1931, 12x19cm, broché. - broché

      [Bookseller: Librairie Le Feu Follet]
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        [Bericht uber die 2. Tagung für Erkenntnislehre der exakten Wissenschaften Königsberg 1930]. Die Logizistische Grundlegung der Mathematik + Die intuitionistische Grundlegung der Mathematik + Die formalistische Grundlegung der Mathematik. [In: Erkenntnis. Zweiter Band - Heft 2-3 (Annalen der Philosophie - Band X Heft 2-3) herausgegeben von Rudolf Carnap und Hans Reichenbach.].

      Leipzig, Felix Meiner, 1931. The entire volume present. 8vo. Orig. printed green wrappers. Sunning to spine, and a bit of soiling and minor wear to front wrapper w. minor loss of upper layer of paper at two pages, not gione through paper. A few leaves w. marginal markings, quite discreet. Library marking to inside of front wrapper, library stamp to title-page (Mathematical Institute of the University of Amsterdam). Overall a fine and nice copy. Pp. (91) - 105 + (106) - 115 + (116) - 121. The entire volume: (2) pp., Pp. (91) - 190.. First edition of the Erkenntnis-volume from the Königsberg congress of 1930, where Gödel introduced his incompleteness results and Carnap, Heyting and von Neumann held the seminal papers (here printed for the first time) that ended the "Grundlagenkrise der Mathematik" (foundational crisis of mathematics). It is also in this volume that the seminal discussions following Gödel's announcements of his results are printed for the first time ("Discussion on the Foundation of Mathematics", between Gödel, von Neumann, Carnap, Hahn, Reidemeister, Heyting, and Scholz) (Gödel, Collected Works, 1931a) as well as the article which inaugurated the logicist foundation of mathematics, in which the modern sense of "logicism" is introduced (Carnap's contribution).In Königsberg in September 1930, Gödel presented his incompleteness results, a landmark in mathematical logic, at the second congress of scientific epistemology, -a congress which proved to be a turning point in the history of philosophical and mathematical logic. It is the papers presented at this congress which are printed in the present volume, apart from the contributions by Gödel and Scholtz (which were printed elsewhere) together with the seminal discussions that followed the presentation of the papers. The groundbreaking papers that are printed here include Carnap's "Die Logizistische Grundlegung der Mathematik", which furthermore introduced the modern sense of the term "logicism", Arend Heyting's "Die intuitionistische Grundlegung der Mathematik" and Johann von Neumann's "Die formalistische Grundlegung der Mathematik" as well as papers by Neugebauer, Reichenbach and Heisenberg. The present papers, as well as the following discussion, mark a turning point in the history of logic and a cornerstone in the future development of the field. The so-called "Foundational Crisis of Mathematics" was a phase within mathematics begun in the early 20th century due to the search for proper foundations of mathematics and the uncertainty of this quest, which was supported by the many difficulties that philosophy of mathematics faced at the end of the 19th and beginning of the 20th century . The crisis took its actual beginning with the publication of Russell's "principles of Mathematics" of 1903, culminated in the 1920'ies with the main advocates of Formalism and Intuitionism respectively, Hilbert and Brouwer, in what is called the "foundational struggle of mathematics", and ended with the present volume in 1931, following the congress of 1930.With the discovery of non-Euclidean geometry in the 18th century, it became evident that not only one sort of mathematics was possible, and even that some propositions could be true in one mathematical system, but false in another. This was the actual basis for the awareness of a mathematical foundation in the mathematical public, which again was the basis for the fact that the question of the foundation of mathematics could develop -and could develop into an actual crisis. During the first 30 years of the 20th century, almost all great mathematicians worked on their answer to the question of the correct foundation of mathematics, and thus it came to a crisis that developed into a struggle. It is this struggle and crisis that Carnap, Heyting and von Neumann break in 1930, where they present the three great positions of the struggling years: logicism (Carnap), intuitionism (Heyting) and formalism (von Neumann), and it is these three papars that pave the way for the discussion that follows, "Diskussion zur Grundlegung der Mathematik", between Gödel, Hahn, Carnap, Heyting, von Neumann, Reidemeister, and Scholz. They all presented their positions in the most conciliatory manner, out of the comprehension that all parties who had contributed to the crisis had also contributed because they wanted to solve it, and because they were also searching for the best possible foundation. It is also this comprehension that Hilbert takes over, when he, in his program, sets out to prove the contradiction-freedom of infinite mathematics on the basis of finite arithmetic.Thus, the seminal papers in the present volume once and for all ended the foundational crisis of mathematics and any fear of new antinomies

      [Bookseller: Lynge & Søn A/S]
 11.   Check availability:     Antikvariat     Link/Print  


      1931. ONE OF 488 COPIES on paper (this is copy #196). (There were also 12 copies on vellum.). 343 x 249 mm (13 1/2 x 9 3/4"). 1 p.l., 268, [2] pp., [1] leaf (colophon). Original white half pigskin and buckram sides by Sangorski and Sutcliffe, raised bands, gilt rules and titling on spine, top edge gilt, other edges untrimmed. In a very fine pigskin-backed linen folding box. Decorative woodcut elements and initials as well as FOUR VERY ATTRACTIVE SECTION TITLES AND SCORES OF STRIKING--AND SOMETIMES MEMORABLE--ILLUSTRATIONS BY ERIC GILL. Printed on Batchelor handmade paper. Chanticleer 78; "A Century for the Century" 26. A hint of soiling to spine (as always), raised bands lightly rubbed (as inevitably is the case), one corner a little bumped, but A VERY FINE--INTERNALLY PRISTINE--COPY, the binding with no significant wear and without any of the foxing that normally afflicts the buckram covers. This is an unusually well-preserved copy of perhaps Gill's greatest achievement as an illustrator, a book generally considered (with the "Troilus" and "Canterbury Tales") to be the finest work produced by the Golden Cockerel Press. The "Four Gospels" has been called by Franklin the finest of all private press books printed between the wars. The success of the work has much to do with Gill's ability to create a harmonious integration of woodcut illustration and typography (his Golden Cockerel typeface, one of the most important ever cut specifically for private use, is introduced here). At the same time that the work achieves an aesthetic balance, it also takes risks with the emotional nature of the woodcuts and with its unjustified page layout. In 35 years of bookselling, we have only rarely seen a better copy of this magnificent book than the present one; the volume has obviously been rarely opened, and the extremely handsome box that protects it reflects the care and affection it has been given over the years.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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      New York: Covici-Friede, 1931. First Edition. Hardback. Fine/Fine. SIGNED by Cummings with initial 'C' in green watercolour to title, b & w illustrations, slight toning to endpapers, original rough buckram, spine very slightly darkened, 4to, limited edition, 124/391. Nevertheless this is the best copy I have seen of this title and consider it Fine. In an unusually very clean and complete glassine jacket.

      [Bookseller: finecopy]
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        Le Chef-d'Oeuvre Inconnu. Eaux-fortes Originales et Dessins Gravés sur Bois de Pablo PICASSO

      Paris: Ambroise Vollard Editeur, 1931, first Picasso edition, one of 305 examples on Rives wove paper (total edition 340). Text by Balzac is here ill'd by Pablo Picasso with 67 original woodcuts (most in-texte) + 13 original full-page etchings (one of them is ”Table des eaux-fortes”); 94 leaves handsomely bound in full black morocco by the important Swiss binder Hermann Hiltbrunner; all edges gilt; handsome endleaves; the original ill'd wrappers and backstrip bound-in; housed in binder's slipcase; overall size 13.5 x 10.5 in. (35 x 27 cm. In excellent condition. This book ranks as one of the most beautiful books of the 20th century. References: ”The Artist & The Book” 225; Bloch 82-94; Goeppert/Cramer 20; Skira 293; Rauch 53; Geiser-Baer 123-1350; Monod 763; ”The Artist & The Book in France” p.339; ”From Manet to Hockney” 92; Chapon p.281; Johnson/Stein, Logan Collection 54; Rubin pp.126-127. This copy is from the important collection of Gustav Zumsteg, the popular Zurich restaurateur, whose frequent guests included Chagall and Braque. Provenance: 1) Gustav Zumsteg; 2) Koller (Zurich).

      [Bookseller: Gemini Fine Books & Arts, Ltd.]
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        Chimes, The

      1931. Gaze Upon the Chimes of Rackham FlashingIn a Binding That is DashingOne of 1500 Copies Signed by the Artist[BAYNTUN-RIVIERE, binders]. [RACKHAM, Arthur, artist]. DICKENS, Charles. The Chimes. Illustrated by Arthur Rackham. Introduction by Edward Wagenknecht. Printed in London by George W. Jones for members of the Limited Editions Club, 1931. Limited to 1500 copies signed by the artist, this being copy no. 641. Quarto (11 1/8 x 7 1/4 in; 284 x 185 mm). xxxii, [3], 128, [2] pp. Six full-page black and white illustrations, fourteen text illustrations. Bound by Bayntun-Riviere and finished by Chrisopher Lewis, c. 1960-65, in full dark red morocco. Gilt-ruled border. Gilt panel with corner pieces enclosing a pictorial onlay of multi-colored morocco that reproduces the frontispiece, Wet Weather Was the Worst. Gilt decorated and ornamented compartments. Gilt rolled edges and turn-ins. Cockerell endpapers. All edges gilt. A fine copy. Housed in a red cloth drop-back clamshell box, contemporary with the binding, featuring an onlay of the pictorial vignette from the original buckram binding to the upper side and its title and lettering onlaid to the spine.The great binding finisher Christopher Lewis began his career at the internationally renowned Bayntun-Riviere Bindery of Bath, England, during the early 1960s as a finisher. In the 1970s, he established his own bindery and further developed his masterful inlay and gilt work, integrating innovative highlights with paint into his pictorial inlays. He returned to Bayntun during the 1990s.Lattimore and Haskell p. 67.

      [Bookseller: David Brass Rare Books, Inc.]
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        SERMILIK FJORD [Original Color Lithograph]

      [New York: George Miller, [1931].. Landscape format, image size 33.5 x 47 cm, plus margins. Professionally matted and framed for the former owner under UV Plexi. Not examined out of frame, but visibly about fine, with a very minimum amount of the typical fading to the fugitive blue. A beautiful example of one of Kent's best lithographs, and one of his uncommon undertakings with color. In addition to the primary lithograph in black and white, a blue tint was printed from a lithograph stone, and a reddish-brown color was added via a zinc plate. An edition of 150 copies was prepared, each signed by Kent in the margin, and the stones and plate were effaced. The image depicts an encampment along the Fjord, and it is one of the most significant separate prints based on Kent's periods of residence in Greenland between 1929 and 1935. BURNE JONES 65. ZIGROSSER 52.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Sermilik Fjord"

      (1931). Measuring 19 1/2 by 14 1/2 inches in a 31 1/4 by 26-inch frame, this lithograph is a unique signed proof printed in three colors. Whereas the original edition of 150 proofs featured a blue tint printed from stone and a reddish brown tint printed from a zinc plate, this proof displays these hues along with a greenish tint. Burne Jones mentions "trial proofs of all the colors done separately" formerly in the collections of Kent and George Miller; however, he does not describe a proof printed in three colors. Later, the stone from which the key drawing and blue tones were printed was "canceled and reground for subsequent reuse by George Miller." Additionally, "the zinc plate was destroyed." The lithograph depicts a camping scene along the shores of Sermilik Fjord on the east coast of Greenland. Kent lived in Greenland sporadically between 1929 and 1935. Based on his time there and the people he met, he wrote two of his greatest books: Greenland Journal and Salamina. The proof is matted and preserved in a lovely wooden frame with a scalloped design. This is a very rare and wonderful piece of art by one of twentieth-century America's greatest illustrators.

      [Bookseller: Bromer Booksellers]
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      Paris: René Kieffer, 1931-39 & 1943.. Four volumes. Large octavo. Uniform three quarter black levant, raised bands, t.e.g., original wrappers bound in, decorated paper endsheets. Kieffer's binder's/bookseller's ticket appears in each volume. First volume professionally rebacked, with the original backstrip laid down, extremities lightly rubbed, trace of sunning to wrappers, about fine. First editions. The first three volumes were issued in editions of one thousand copies, numbered in the first volume. The fourth, and supplementary volume, was issued in an edition of 700 copies. An extensive attempt at a descriptive bibliography of all relevant French language titles in the genre, with notes on the size of editions and the hierarchy of issues. Due to circumstance and the removal in years from the first three volumes, the fourth volume is not always present.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Typed Letter Signed

      Pasadena, Calif, february 1, 1931. Fine condition, two minor fold marks. Signature fine, in pen. A thank you note in German, 1/2 page on California Institute of Technology, Norman Bridge Labratory of Physics, Pasadena letterhead. Fine condition, two minor fold marks. Signature fine, in pen . An early thank you note from Einstein while in America before he emigrated there permanently in 1933. "Sehr geehrter Herr!/ Ich danke Ihnen sehr fur die Uebersendung Ihrer interessanten kunsthistorishen Studien..."

      [Bookseller: James Cummins Bookseller]
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        The Shakespeare Head Bronte: (Complete Novels--Eleven Volumes--Large Paper Edition); Jane Eyre (2 vols); Shirley (2 vols); Villette (2 vols); The Professor; Wuthering Heights; Agnes Grey; The Tenant of Wildfell Hall (2 vols)

      Oxford, England:: Basil Blackwell / Houghton Mifflin,, 1931.. First edition thus. Hardcover--cloth. Very Good. # 449 of edition limited to 1000 copies: 11 volumes. Complete as issued. Additional volumes of poetry, etc, added later. Octavo, 9 1/2" tall, green cloth, paper spine labels. A very good set over all, most volumes unread, with pages uncut, but many years on the shelf, with minor rubbing to the cover cloth at the corners, labels darkened (some chipped); hinges and binding tight, paper lightly yellowed, with the worst problem being light scattered foxing primarily at the endpapers and flyleaves, and the previous owner's name penned in several volumes on the front free endpaper. Still a beautiful set. Pictures available.

      [Bookseller: Avenue Victor Hugo Bookshop]
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      [Los Angeles]: Paramount Publix Corporation, 27 May 1931.. [2], A1-J5,[1] leaves, foliated in sequence format. Legal format. Mimeographed typescript, printed on rectos only, and somewhat crudely restapled in left margins. Filing stamp on title leaf, some small nicks and modest creases to outer, earlier staple holes in left margin; a good copy. Denoted a "white" script of this, the first sound adaptation of Clemens' novel, directed by Norman Taurog, and as a direct successor to the 1930 TOM SAWYER, starring Jackie Coogan and Junior Durkin. The film was released on 7 August.

      [Bookseller: William Reese Company - Literature ABAA-]
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      [Np]. 1931.. Original lithograph, printed in shades of olive, brown and black. 44.5 x 32.5 cm plus full margins. Matted. About fine. One of an unspecified edition, dated and signed in the stone, and signed and dated in pencil in the lower margin. George Kenneth Hartwell (1891-1949) was born in Fitchberg, Mass, and studied at the Art Students' League in New York City under Kenneth Hayes Miller, Edward Hopper and George Bellows. His work was exhibited at the Art Institute of Chicago (1923), the Society of Independent Artists (1923), the Library of Congress (1944-46), the Laguna Beach Art Association (1945 and 1946) and the Carnegie Institute (1945), Hartwell worked as an illustrator for CENTURY, SCRIBNER'S and THEATRE ARTS. He is particularly known for his Depression-era depictions of the worlds of carnivals, sideshows and burlesque houses, of which this image is a fine example. He executed this lithograph in at least four variations, monochrome, tinted and in at least two forms of coloring, of which this is one example.

      [Bookseller: William Reese Company - Literature ABAA-]
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      Praha: Druzstevni práce a B.M. Klika, 1931/32. First ed. 22 issues in 2 volumes (all published). 8vos., 380, 315 pp., profusely illustrated. Orange and black publisher's cloth, with original illustrated wrappers bound at rear of each volume. Previous owner's neat stamp, and one small marginal notation, otherwise very good to near fine. This Czech magazine was international in scope and published monthly. It contained images and articles about the current architecture, painting, theater, cinema, photography and design. It included the work of Man Ray, Lerski, Sudek, Moholy-Nagy, Rodcenko, John Heartfield, Karel Teige. Errell, Funke; drawings by George Grosz. The orginal wrappers were designed by Ladislav Sutnar. This is the complete run of this short lived journal.

      [Bookseller: Andrew Cahan: Bookseller, Ltd]
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        Triumphal March

      London, Faber and Faber,, [1931]. Octavo. Grey paper wrappers printed in black. Two drawings by E. McKnight Kauffer (one in color). A very nice copy. First Edition, First Impression. Presentation copy, inscribed to critic, poet and translator F. S. Flint who collaborated with Eliot in the 1920s and 1930s, "F. S. Flint from T. S. Eliot." This is No. 35 of The Ariel Poems series. 2,000 copies published on 8 Oct 1931. This poem was not separately published in the US, but it was reprinted in Modern Things (New York [1934]), pp. 14-15, and in Collected Poems ([1936]), pp. 157-159.

      [Bookseller: Peter Harrington]
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        [Quelques tirages de têtes...] Panama or the adventures of my seven uncles

      New York & London: Harper & brothers, 1931. Broché. 19,5x24,5cm. Edition originale de la traduction en anglais établie par John Dos Passos et qui fut imprimée à 300 exemplaires sur Utopian laid paper. Signatures autographes de B. Cendrars et J. Dos Passos à la justification du tirage. Ouvrage orné d'illustrations originales de John Dos Passos. Bel exemplaire. - Harper & brothers, New York & London _1931, 19,5x24,5cm, broché. - Quelques tirages de têtes... broché

      [Bookseller: Librairie Le Feu Follet]
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        Fairyland. Verses by Annie R. Rentoul. Stories by Grenbry Outhwaite and Annie R. Rentoul.

      London: A. & C. Black (1931).. First English edition, folio, 126, (2) pp. 16 colour plates and 31 full page black and white illustrations plus further vignettes in the text, pictorial endpapers, outer margin of 2 plates creased with a couple of tears and careful repair, not affecting the image, small strip cut from the bottom of the first advertisement leaf, not affecting any text, small stain to foot of paste down. Original light blue cloth, spine and edges of upper cover faded.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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      (n.p.): (n.p.). (n.d.). A black and white photograph of Williams with Cheryl Crawford, who produced Williams' plays The Rose Tattoo and Sweet Bird of Youth. Crawford was one of the key figures in American theater over the course of a career lasting more than five decades: in 1931 she co-founded the Group Theater with Harold Clurman and Lee Strasberg, and she directed its first commercial success, Men in White, which won the Pulitzer Prize. In 1946 she was a co-founder of the American Repertory Theater and in 1947 a co-founder of the Actors' Studio, which trained such actors as Marlon Brando, James Dean, Jane Fonda and others. She was also important in the early careers of such actors as Ethel Barrymore, Tallulah Bankhead, Helen Hayes, Ingrid Bergman, and others. 12-1/2" x 9-1/2". Fine, mounted to display board that shows some handling and wear. From the estate of Cheryl Crawford. . First Edition.

      [Bookseller: Ken Lopez Bookseller, ABAA]
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      Copyright 1931. [ 1949].. Color pictographic map / poster (carte), 17 3/4 x 14 inches on sheet 19 3/4 x 16 inches. Professionally mounted on linen. Very good condition. This is the second colored issue of Jo Mora's whimsical bird's eye view of the Yosemite valley (with the rider facing to the left: Gilmore 2004). .

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        Die Heilung durch den Geist. Mesmer - Mary Baker-Eddy - Freud

      Lpz., Insel 1931.. gr.-8°. 446 (1) S. Mit Errata-Zettel. OLn. Mit Goldpräg. W.-G.² 103; EA. - Mit eh., mehrzeil. Widmung d. Verf. am Tit.

      [Bookseller: Antiquariat Burgverlag]
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        The Night Before Christmas

      Philadelphia: J. B. Lippincott Co.,, [1931]. Octavo. Original limp vellum, titles to upper cover gilt, pictorial endpapers, top edge gilt, others uncut. With the original vellum slipcase. With 4 colour plates and numerous black and white illustrations by Arthur Rackham. Usual light cockling to the leaves, faint offsetting from some illustrations, a lovely copy in excellent condition, in the lightly rubbed and spotted slipcase. First American edition, limited issue. 275 copies of which this is number 108, signed by Arthur Rackham.

      [Bookseller: Peter Harrington]
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        Southwest Historical Series (Volume I thru XII)

      All first editions by Arthur H. Clark Company, Glendale, Calif.: 1931-1943. All twelve volumes of this complete set are in very good+ to fine condition in the publisher's original maroon cloth covered boards with gilt text stamped on the spines. All are small quartos measuring 9 1/4" by 6 1/4" with the top edge of the text block in gilt and the other edges untrimmed. Some of the gilt text on the spines has tarnished to a darker shade, most of the volumes have a prior owner's book plate on the front paste down and volume I was originally owned by the U. S. Army. None of the volumes are in their original, plain brown dust jackets. The volumes in the set include: Adventures in the Santa Fe Trade by James Webb, 1931, 301 pages; Frontier life in the Army by Eugene Bandel, 1932, 350 pages; Journal of a Soldier Under Kearny and Doniphan by George Gibson, 1935, 371 pages; Marching With the Army of the West by Johnston, et al, 1936, 368 pages; Southern Trails to California in 1849 by Ralph Bieber, 1937, 387 pages; Wah-To-Yah and the Taos Trail by Beiber, 1938, 377 pages; Exploring Southwestern Trails by Averam Bender, 1938, 383 pages; Historic Sketches of The Cattle Trade of The West and Southwest by Bieber, 1940, 435 pages; Pike's Peak Gold Rush Guidebooks of 1859 edited by Hafen, 1940, 346 pages; Colorado Gold Rush edited by Hafen, 1941, 386 pages; Overland Routes to the Fold Fields edited by Hafen, 1942, 320 pages; The Southwest Historical Series edited by Bieber and Hafen, 1943, 364 pages. (Clark & Brunet, 19; Howes, S791) Due to the size and weight of this set please contact Town's End Books in advance of placing an order to obtain a quote for shipping costs.

      [Bookseller: Town's End Books]
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        THE WAVES

      1931. hardcover. Woolf, Virginia. THE WAVES. London: Published by Leonard and Virginia Woolf at The Hogarth Press, 1931. Original purple cloth, with dust jacket. <p>First Edition of Virginia Woolf&#39;s most experimental work, which some have labeled as more poetry than prose. It consists of first-person stream-of-consciousness life-stories, from childhood into adulthood, by six different characters (or do they represent six different facets of the same person?) -- showing how each is distinct from, and yet interdependent on, the others.</p> <p>This volume is very nearly fine (the purple cloth is slightly sunned on the spine, but there is essentially no wear at all), and the tightness of the volume implies that this copy has never been read. The dust jacket, by the author&#39;s sister Vanessa Bell, is <i>fine</i> (<u>no</u> soil or wear) -- except that there is a vertical crease down the spine, due to a previous owner&#39;s habit of removing and storing the dust jacket upon purchasing a book (this also explains why the volume&#39;s spine is slightly sunned). There is also a crease near the edge of the rear flap. One could scarcely hope to find a better example of this dust jacket. Kirkpatrick A16a.</p> BOOKS WRITTEN BY WOMEN (Sumner & Stillman Code:12318)

      [Bookseller: Sumner & Stillman]
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        The Waves

      London: The Hogarth Press, 1931., 1931. First Edition. 8vo., pps. 325. Publisher&#39;s sharp purple cloth, gilt titles to very slightly darkened spine lightly rubbed to head; in its original dust wrapper with spine darkened, extremities rubbed with a couple of minor chips to upper hinge, one with old small tape repair. A most striking, tight copy in a beautiful example of an extremely fragile wrapper. The Waves is Woolf&#39;s most experimental novel, consisting of soliloquies spoken by the book&#39;s six characters; Bernard, Susan, Rhoda, Neville, Jinny, and Louis, and charts their journey from childhood to adulthood.

      [Bookseller: Adrian Harrington Rare Books]
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        Autograph letter signed in full to Hugo Balzer

      2 pp. Octavo. Dated June 10, 1931. With Berg&#39;s handstamp in blue-black ink to upper left corner: "Alban Berg / Gut Berghof / post: Sattendorf / am Ossiacher-See / Kärnten, Austria / Tel. Villach [1]395"). Together with autograph envelope addressed to Balzer at the Stadttheater in Freiburg with Berg&#39;s handstamp to verso with his address on Trauttmausdorffgasse 27 in Vienna. In German (with translation). & & Berg thanks Balzer for his recent letter, and tells him that he has also written to [Finance Minister] Weinberger. & & "Your kind letter reached me in a roundabout way. You probably have my letter of June 5th by now... In the same mail I wrote to Fin[ance] Min[ister] Weinberger. Hopefully success! ... Please keep me in the loop."& & Letter creased at central fold and very slightly at margins; envelope slit at upper margin, upper right corner lacking where stamp has been removed, Berg&#39;s name in another hand to address panel. . "Along with his teacher Arnold Schoenberg and fellow pupil Anton Webern in the years before and immediately after World War I, [Berg] moved away from tonality to write free atonal and then 12-note music. At once a modernist and a Romantic, a formalist and a sensualist, he produced one of the richest bodies of music in the 20th century, and in opera, especially, he had few equals." Douglas Jarman in Grove online& & Written during the period when Berg was actively engaged in the composition of Lulu, which extended from mid-1928 to the spring of 1934, at which point the opera was complete in short score.& & Balzer, founder of the Robert-Schumann-Konservatoriums, was music director in Düsseldorf, Detmold and Darmstadt variously in the 1930s and 1940s.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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      New York/New Haven: Coward-McCann/Yale Univ., 1931. First Edition. cloth. Very Good in a Good only dustwrapper with edgewear and tears. First Trade Edition, only 5,900 copies printed. These one-act plays represent Wilder's first attempt at a colloquial style and his first successful work for the theatre. This copy is wonderfully INSCRIBED and SIGNED by the author with a quote from the play: "For Charlie:/with best wishes/from Thornton Wilder/Burton Ct./U. of Chicago/'The best of them/all' p. 69/This is the first/copy signed by/me- of the/non-specials." The last statement is a reference to the signed edition limited to 525 copies.

      [Bookseller: Charles Agvent]
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        Gebrauchsgraphik: International Advertising Art - Twenty-Four Issues

      Berlin. Frensel Und Engelbrecher. 1931-1934. Bound in pictorial wrappers. 4to. 9.25" x 12.25 Profusely illustrated throughout by chromolithographs, colour and monochrome plates - many tipped-in, illustrations en texte, drawings,die cuts, etc. reproducing period advertising from a myriad of international sources. " Gebrauchsgraphik, Monatschrift zur Förderung künst-lerischer Reklame (Commercial Graphics, Monthly Magazine for Promoting Art in Advertising), which was published in Berlin from 1924 until 1944, was the leading voice of the Avant-Garde influence on the European Commercial Art and Advertising industries before World War II. In the thirties, all roads led through Berlin, and Gebrauchsgraphik spotlighted all of the aesthetic trends fermenting in Europe -- Art Deco and Surrealism from Paris, Constructivism from Moscow, Futurist Fascism from Rome, De Stijl and Dutch typography from Amsterdam, and of course the spreading influence of the Dessau Bauhaus. A journal that was truly international in scope ,all articles and cutlines are presented in both German and English.The thirties were the Golden Age for European Poster Art and Gebrauchsgraphik was in the perfect place to showcase all the latest and greatest trends and rising artists for the rest of the world. Gebrauchsgraphik was an incredibly influential journal and agenda setter, utilizing the latest printing and press technologies which often included custom colors, bound-in samples and advertising fold-outs, foil stamps, die-cuts and other special finishing effects." - Randall Ross. Founded by Professor H K Frensel , Gebrauchsgraphik followed his concept that advertising should be a positive force in society through the development and presentation of innovative graphics. The magazine never espoused any specific philosophy but was open to all design directions executed to the highest standards of craftsmanship.Today, Gebrauchsgraphik is regarded as a rare and most desirable source for the appreciation and display of pure Art Deco Graphic Arts. & Most issues present with moderate wear and rubbing to covers with some short tears, soiling, small dampstains etc. Issues range from Good to Very Good.

      [Bookseller: Heldfond Book Gallery, ABAA-ILAB]
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        Ein Ghetto Im Osten (Wilna)

      Zurich & Leipzig: Orell Fussli,, 1931. Schaubücher 27. Octavo. Original pictorial boards. Text in German and Hebrew. 62 plates from photos by the author. Front free endpaper cleanly cut away. Binding very lightly rubbed with some wear to the corners, contents exceptionally clean and fresh. An excellent copy. First edition, first impression of the author&#39;s first book, a photo essay on the Wilna ghetto. An artistically and historically significant work, especially as the ghetto was entirely destroyed by the Nazis only a decade later. The photographer, Moshé Vorobeichic, was born in Vilnius in 1904 and studied at the Bauhaus and in Paris at the Ecole de Photo Ciné, where he changed his name to Moi Ver. His most important work was the 1931 book of avant-garde photomontages entitled Paris.

      [Bookseller: Peter Harrington]
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        Hans Mattis-Teutsch Kunstideologie Stabilität und Aktivität im Kunstwerk Mit einer Einleitung von Mihai Nadin und einem Nachwort von Elisabeth Axmann

      Offered complete in the publisher's pictorial wrappers, a rare signed presentation example, with 5 lines inscribed in English by Mihai Nadin, the author of the introduction, for Gy?rgy Kepes, alluding poignantly to the ties between the great trio of Hungarian artists influenced by the Bauhaus, L?szl? Moholy-Nagy, Janos Mattis (known also as Janos or Hans Mattis-Teutsch), and Gy?rgy Kepes, of the second edition of Kunstideologie (Ideology of Art), but the first edition with added texts, limited to 1010 unsigned, unnumbered examples in German. EDITION NOTE: the second edition of Kunstideologie, first published in a small printing in Potsdam by M?ller & J. Kiepenheuer in 1931, but the first edition with added commentary, an introduction and an afterword; offset printed in Bucharest by Arta Grafica. MATTIS-TEUTSCH: With each passing decade, Mattis-Teutsch has grown in importance, the early exhibitions since his death (1968 in Brasov, and 1971 in Bucharest) curated by Mihai Nadin. He is now recognized as a notable modern artist who absorbed currents of Abstraction, De Stijl, Bauhaus, and Constructivism into his own profound exploration of the dynamic rhythmic possibilities of composition. PROVENANCE: from Gy?rgy Kepes' estate. PRESENTATION: 5 lines, no addressee, done in black ink on the half-title page, dated February 2, 1982, sited in Providence, Rhode Island and signed M. Nadin. Inscribed, "The world is indeed small: Moholy-Nagy, his friend Janos Mattis, afterwards Gy?rgy Kepes. I hope that you will understand why I am offering you this book". KEPES (1906-2001): a photography pioneer for his photograms of scientific phenomena, and a notable light and technology artist and theorist, born in Hungary, lived in Budapest, emigrated by way of Berlin and London to the United States, first, at the invitation of L?szl? Moholy-Nagy to become head of the Department of Light and Color at the New Bauhaus School in Chicago, before moving to Brooklyn and then to MIT in Cambridge. There he had a great influence on technology artists through his teaching and writing and was the founder of the Center for Advanced Studies at MIT (CAVS). FORMAT: Publisher's white paper wrappers with black letters in the sewn binding with a b/w pictorial on the upper wrapper and a b/w vignette on the lower wrapper. SIZE: 23.9 x 19.4 cm or 9.41 x 7.64 inches, as issued. CONDITION DETAIL: Pages: clean and bright with a top corner fingering impress mark and a bottom tip crease continuing through. Wrappers: rubs and some soiling. Upper has slight top corner wear, bottom corner wear with a tip crease, and some spotting, primarily at the fore-edge. Lower has spotting, primarily adjacent to spine edge and slight tip wear with soiling. Binding: spine slant, but very good. PAGINATION: Confirmed complete: 107 pages. (4) pages, preliminaries, pages 5-17, Nadin's introduction, text with footnotes, Kunstideologie, the forward from page 19, with a description of the dynamic rhythmic possibilities in exploring horizontal versus vertical space, convex versus concave forms, etc, as noted in his Soul Flowers paintings of 1916-1924 (Seelenblumen), followed by a b/w pictorial presentation with full-page reproductions with captions, divided into 3 sections, Line (Linie) from page 33, Dimension (Plastik) from p. 45, and the principal suite, Surface-Line-Color (Fl?che-Linie-Farbe), pages 54-98, ending in a brief note on architectural space and art as an emotional expression of the brain (gestalten in Form die geistigen Lebensempfindungen), pp. 99-100, Axmann's afterward, pp. 101-107. IMAGES: by request.

      [Bookseller: Steven Waldman]
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        Ergebnisse eines mathematischen Kolloquiums, unter Mitwirkung von Kurt Gödel und Georg Nöbeling. Herausgegeben von Karl Menger. Heft 1-7

      Leipzig & Berlin: B.G. Teubner, 1931-1936. All first editions. An absolutely mint set, in the original wrappers, of these rare proceedings to which Gödel contributed fifteen important papers and remarks on the foundations of logic and mathematics. &#147;By invitation, in October 1929 Gödel began attending Menger&#146;s mathematics colloquium, which was modeled 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&#146;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 coeditor 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.&#148; (D.S.B. XVII: 350). <br/><br/>The papers are: (1) Ein Spezialfall des Entscheidungsproblems der theoretischen Logik, vol. 2, pp. 27-28; (2) Über Vollständigkeit und Widerspruchsfreiheit, vol. 3, pp. 12-13; (3) Eine Eigenschaft der Realisierungen des Aussagenkalküls, vol. 3, pp. 20-21; (4) Untitled remark following W. T. Parry Ein Axiomensystem für eine neue Art von Implikation (analytische Implikation), vol. 4, p. 6; (5) Über Unabhängigkeitsbeweise im Aussagenkalkül, vol. 4, pp. 9-10; (6) Über die metrische Einbettbarkeit der Quadrupel des R3 in Kugelflächen, vol. 4, pp. 16-17; (7) Über die Waldsche Axiomatik des Zwischenbegriffes, vol. 4), pp. 17-18; (8) Zur Axiomatik der elementargeometrischen Verknüpfungsrelationen, vol. 4, p. 34; (9) Zur intuitionistischen Arithmetik und Zahlentheorie, vol. 4, pp. 34-38; (10) Eine Interpretation des intuitionistischen Aussagenkalküls, vol. 4, pp. 39-40; (11) Reprint of Zum intuitionistischen Aussagenkalkül [Anzeiger der Akademie der Wissenschaften in Wien, vol. 69,1932, pp. 65-66], vol. 4, p. 40; (12) Bemerkung über projektive Abbildungen, vol. 5, p. 1; (13) Diskussion über koordinatenlose Differentialgeometrie (with K. Menger and A. Wald), vol. 5, pp. 25-26; (14) Über die Produktionsgleichungen der ökonomischen Wertlehre, vol. 7, p. 6; (15) Über die Länge von Beweisen, vol. 7, pp. 23-24. John Dawson in his Annotated Bibliography of Gödel has the following summaries of these papers: (1) This undated contribution was not presented to a regular meeting of the colloquium, but appeared among the Gesammelte Mitteilungen for 1929/30. In the context of the first-order predicate calculus without equality, Gödel describes an effective procedure for deciding whether or not a formula with prenex form (3x1...xn)(y1y2)(3z1...zn)A(xi,yi,zi) is satisfiable; the procedure is related to the method used in [his dissertation Die Vollstandigkeit der Axiome des logischen Funktionenkalküls] to establish the completeness theorem; (2) Closely related to [Über formal unentscheidbare Sätze der Principia Mathematica und verwandter Systeme I, 1931], [this paper] notes extensions of the incompleteness theorems to a wider class of formal systems. The system considered in [his 1931 paper] is based on Principia Mathematica and allows variables of all finite types. Here Gödel observes that any finitely-axiomatizable, omega-consistent formal system S with just substitution and implication (modus ponens) as rules of inference will possess undecidable propositions whenever S extends the theory Z of first-order Peano arithmetic plus the schema of definition by recursion; and indeed, that the same is true of infinite axiomatizations so long as the class of Gödel numbers of axioms, together with the relation of immediate consequence under the rules of inference, is definable and decidable in Z; (3) In answer to a question of Menger, Gödel shows that given an arbitrary realization of the axioms of the propositional calculus in a structure with operations interpreting the connectives ~ and &sup;, the elements of the structure can always be partitioned into two disjoint classes behaving exactly like the classes of true and false propositions; (4) During the 33rd session of the colloquium, November 7, 1931, the American visitor Parry introduced an axiom system for &#147;analytic implication,&#148; a concept of logical consequence entailing the unprovability of A -> B whenever B contains a propositional variable not occurring in A. Following Parry&#146;s demonstration (via multi-valued truth tables) of this characteristic property, Gödel suggested that a completeness proof be sought for Parry&#146;s axioms, while noting that the question whether Heyting&#146;s propositional calculus could be realized using only finitely many truth values was then open. On p. 4 of this same issue, an article by Alt (&#147;Zur Theorie der Krümmung&#148;) mentions an unpublished suggestion by Gödel; (5) To Hahn&#146;s question, &#147;Can every independence proof for statements of the propositional calculus be carried out by means of finite multi-valued truth tables?&#148; Gödel provides a negative answer. Specifically, using infinitely many truth values he demonstrates the independence of p &sup; ~~p from the set of axioms p &sup; p, (p &sup; ~~q) &sup; (p &sup; q), and (~~p &sup; ~~q) &sup; (p &sup; q), while showing that any finite realization of those axioms must also realize p &sup; ~~q; (6 & 7) Gödel&#146;s contributions to geometry have been overlooked by bibliographers. Both [6] and [7] formed part of the 42nd colloquium, held February 18, 1932. In the former, Gödel answers a question raised by Laura Klanfer at the 37th colloquium, December 2, 1931: he shows that whenever a quadruple of points in a metric space is isometric to four noncoplanar points of R3, the quadruple is isometric, under the geodesic metric, to four points on the surface of a sphere. (The corresponding result for the usual metric on R3 is trivial.) In the second paper Gödel reformulates Wald&#146;s axiomatization of the betweenness concept as a theorem about triples of real numbers, assigning the triple of distances (ab, bc, ac) to a triple (a, b, c) in a given metric space. The theorem states that b lies between a and c in the sense of Menger if and only if (ab, bc, ac) lies in that part of the plane x + y = z for which each of the four quantities x, y, z, and (x + y - z)(x - y + z)(-x + y + z) is nonnegative; (8) Only two brief comments were published from the discussion with the above title held as the 51st colloquium, May 25, 1932. In translation, Gödel&#146;s remark reads in full: &#147;[Some]one should investigate the system of all those statements about fields that in normal form contain no existential prefixes. The concepts of point and line, which are definable by application of existential prefixes (e.g., a point is an element for which there exists no nonempty element that is a proper part of it), are undefinable in this more restricted system.&#148;; (9) In this short but important paper, Gödel shows that although the intuitionistic propositional calculus is customarily regarded as a subsystem of the classical, by a different translation the reverse is true, not only for the propositional calculus but for arithmetic and number theory as well. (Independently and slightly later the same result was discovered by Gentzen and Bernays. Specifically, with each formula A of Herbrand&#146;s system of arithmetic Gödel associates a translation A&#39; in an extension of Heyting&#146;s arithmetic, such that A&#39; is intuitionistically provable whenever A is classically provable. Since it provides an intuitionistic consistency proof for classical arithmetic, Gödel&#146;s translation gives classical mathematicians grounds for maintaining that insofar as arithmetic is concerned, intuitionistic qualms amount to &#147;much ado about nothing&#148;; for intuitionists, however, the issue is not so much consistency as it is matters of proper interpretation and methodology; (10) By formalizing the concept &#147;p is provable&#148; via a unary predicate Bp satisfying the axioms Bp -> p, Bp -> BBp, and Bp -> (B(p -> q) -> Bq), Gödel shows that Heyting&#146;s propositional calculus can be given a natural classical interpretation. Specifically the intuitionistic notions &rceil;p, p &sup; q,p v qy and p &and; q are to be interpreted by ~Bp, Bp -> Bq, Bp v Bq, and p*q; (11) Though considerably more accessible than [the original printing in Anzeiger der Akademie der Wissenschaften in Wien, 1932], this reprint has not been cited in earlier bibliographies. The text is identical to the original except for the addition of an opening clause attributing the question to Hahn, (12) This brief note, part of the 53rd colloquium, November 10, 1932, is devoted to proving that every one-to-one mapping of the real projective plane into itself that carries straight lines into straight lines is a collineation; (13) Gödel&#146;s only joint paper, previously uncited. A single, mildly technical result is established, whose aim is to show that so-called &#147;volume determinants&#148; are appropriate for giving a coordinate-free characterization of Gaussian surfaces. The paper is intended as a contribution to Menger&#146;s program for making precise, in a coordinate-free way, the assertion that Riemannian spaces behave locally like Euclidean spaces; (14) In this two-sentence remark, Gödel notes that a realistic analysis of demand in economics must take into account a firm&#39;s income, which depends upon the cost of production; (15) A short but important paper, largely overlooked until the advent of computational complexity theory. In terms of the latter, [1936a] provides an early example of a speed-up theorem, viz., that in formal number theory, passing to higher types (allowing sets of integers, sets of sets of integers, etc.) not only causes some previously unprovable statements to become provable, but also greatly reduces the length of the shortest proofs of some previous theorems. <br/><br/>Seven seperate issues, in their original printed wrappers; very fine and fresh, scarce in such good condition. 8vo: 232 x 152 mm. pp. 31,(1:blank); 38,(2:blank); 26; 45,(1:blank); 42.

      [Bookseller: SOPHIA RARE BOOKS]
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      1931. Fine. WALT DISNEY STUDIO STAFF. MICKEY MOUSE STORY BOOK. Philadelphia: David McKay Company (1931). Story and Illustrations by the Staff of Walt Disney Studio. 62 pp. 8vo., blue cloth spine over flexible color pictorial cardboard covers. Near fine. A small crease/paper repair to top corner of front cover and first leaf, and faint crease to bottom joint of front cover, else a beautiful copy, bright and clean inside and out. Covers feature Mickey reading to two attentive little mice (Mickey and Minnie Jr.?) with Pluto reclining in the foreground. Interior illustrations in halftone b/w, with text in rhyming verse.

      [Bookseller: Boston Book Company]
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        THE ADVENTURES OF MICKEY MOUSE; Book One and Book Two

      Philadelphia; (1931 & 1932): David McKay Co. Two volumes, Book I and Book 2, issued without dust jackets. Story and illustrations by staff of Walt Disney, no pagination, both books bound in color pictorial paper over boards, color pictorial endpapers, color illustrated throughout; light wear at extremities, spines are intact, paper worn more at ends; tiny piece from lower corner of endpaper torn away, in Book I. A very good set with no interior writing.. First Edition. 5 5/8/2" x 7 3/4".

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
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        Disney Signs A Photograph Of Himself Speaking At Hallmark Cards

      PS. 9 ½? x 7?. No date. No place. A black and white photograph signed ?Walt Disney? in the upper left corner in blue ink. It shows Disney speaking at a lectern at a Hallmark Cards event; there are students behind him and adults in the audience. The Hallmark and Disney companies had a long history of working together; in 1931, Hallmark signed their first licensing agreement with Disney. The original photograph has been cropped, including the very top portion of the ?y? in the autograph. There are mounting remnants on the verso.

      [Bookseller: Stuart Lutz Historic Documents, Inc.]
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        Mickey Mouse Story Book

      Philadelphia: David McKay Company, 1931. First edition, first printing.. Fine. Yes. 8vo. (2),62pp. Original tan cloth blocked in black on the upper board; pictorial color pasteon. Nicely done black and white illustrations throughout accompanying the stories about Mickey having Traffic Trouble; going to a Birthday Party; stepping Out; and going Fishin&#39; Around. Minnie and Pluto are featured, as well as the seldom seen Horace Horsecollar and Clarabelle Cow. The binding is fine and bright with only a few stray marks, a trace of soil and wear; it is very nice indeed. The text has a few fingering smudges and stains else is fine as well. Overall a truly lovely copy and scarce in this condition. This title seems to have been issued in three bindings: pictorial card covers, cloth spine with pictorial card boards, and full cloth with pictorial pasteon. So far as we can determine, the ful cloth binding is the scarcest of the three.

      [Bookseller: Thorn Books]
 43.   Check availability:     IOBABooks     Link/Print  


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