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Displayed below are some selected recent viaLibri matches for books published in 1932

        Brave New World

      London: Chatto and Windus, 1932.. FIRST EDITION. Publisher's cloth in original dust-wrapper. A few minor nicks to the top edge of the wrapper, a touch browned at crwon and foot. Entirely unrestored. A most attractive copy. Scarce in this condition. A modern highlight, and a landmark of 20th century fiction suggesting that a future of boundless materialist happiness, designer narcosis and no strings attached sex might not be all its cracked up to be. I still say we should give it a fair crack of the whip though.

      [Bookseller: Adrian Harrington Rare Books]
 1.   Check availability:     IOBABooks     Link/Print  

        L'Oeuvre gravé de Félix VALLOTTON (1865-1925). Monographies de Peintres-Graveurs illustrées. Quatrième volume

      Chez l 'Auteur, à Paris & Chez Paul Vallotton à Lausanne, Paris & Lausanne 1932 - Partiellement paginé. Quatrième volume de cette collection. 223 reproductions in texte en noir, numérotées, avec descriptif. Avant le frontispice une xylographie hors texte, sur un autre papier (Japon blanc), titrée « L'Etranger » (1894, répertoriée sous numéro 137), se voyant en transparence au verso. Exemplaire non justifié, où il est précisé que de cet ouvrage furent tirés 30 exemplaires sur japon des Manufactures Impériales ornés d'une xylographie originale en double tirage. Cette épreuve a été tirée à 120 exemplaires sur japon blanc (après des premiers tirages de 50 + 25) et 30 sur japon nacré pour servir de frontispice aux exemplaires de luxe de cet ouvrage. Les initiales gravées furent retirées à la gouge pour ce tirage japon des frontispices, ainsi qu'il est encore précisé dans ce même ouvrage (N° 137). Contenu : Portrait de F. Vallotton, reproduction d'un tableau du Musée des Beaux-Arts de Lausanne. 16 pages de texte, paginées, « La Vie et l'oeuvre de Félix Vallotton ». Puis, la première partie : « Eux-fortes et pointes sèches ». La seconde : « Lithographies ». La troisième : « Gravures sur bois ». En fin d'ouvrage : Supplément, Gravures d'interprétation (liste sans reproduction) et une Table des gravures par ordre alphabétique et report des numéros. Achevé d'imprimer le 22 juillet 1932 sur les presses de Charles Brande, maître-imprimeur au Vésinet. Ouvrage difficile à trouver, et sans doute encore plus difficile avec sa xylographie encore présente! Couverture souple, ornée. Titre en noir sur le dos. Etat : assez bon, état d'ancienneté, défraichi. A été consulté et manipulé, nombreuses mais assez discrètes marques (des « X » ou croix en regard de numéros) et rares soulignements au crayon papier. Mors fragilisés, mais tenant encore. Couverture frottée, micro-déchirures, coins avec plis. 32.5 x 25 x 1 cm 520g. [Attributes: Soft Cover]

      [Bookseller: ABC - Eric Girod]
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      Munsey 1932 - Great lot of six issues of Argosy Weekly. These six issues contain all six parts of the novel Pirates of Venus by Edgar Rice Burroughs. Many other stories included. The pulps in this lot are: 1932 - Sept 17, 24; Oct 1, 8, 15, 22. The Sept 17 issue features a cover highlighting the ERB story. The Oct 22 issue features A Merritt's story Burn, Witch, Burn and has a fantasy cover. Finding a complete ERB set is a rare event. Average grade is VG+. Condition: VG+

      [Bookseller: DTA Collectibles]
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        THE PIRATES OF VENUS in ARGOSY [complete in six issues]

      New York: The Frank A. Munsey, Company, 1932. Some minor loss to paper of spine ends, the fifth issue (October 15) has some chipping to the right front edge, otherwise light edge wear to all issues, a solid very good set. (20858). Octavo, six issues, cover of the September 17 issue by Paul Stahr, pictorial wrappers. Pulp magazine. Complete six part serial "The Pirates of Venus." The first of the Carson of Venus stories. The last issue includes part 1 of "Burn Witch, Burn!" by A. Merritt. Zeuscher, Edgar Rice Burroughs: The Bibliography, pp. 242.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Cold Comfort Farm - with signed slip

      London Longmans 1932 - A first edition, first printing published by Longmans in 1932. A very good+ book with some fading to the spine and some rubbing to the edges and especially to the spine tips. No inscriptions. In the very scarce unclipped first issue dust wrapper which has benefitted from some light restoration to the lower portion of the spine and a little to the edges. The book presents very well indeed. Accompanied by a signed slip from Stella Gibbons, explaining that she does not have a personal bookplate - signed and dated. One of the few books to introduce a fictional plant. Housed in a custom clamshell box. [Attributes: First Edition; Signed Copy]

      [Bookseller: John Atkinson Books ABA ILAB PBFA]
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        Bau- und Kunstdenkmäler der Stadt Münster (= Bau- und Kunstdenkmäler von Westfalen Bd.41 : Die Stadt Münster. Bearb. Von Max Geisberg) 7 Tle. ( Bd. 7 Reg.)

      zus. Mehr als 3.000 S. mit sehr zahlr. tlw. Ausfaltbaren Rissen, Plänen, Detailansichten und Photos 4 Olwd mit goldgepr. Rücken- u- Deckeltitel Das sehr umfangreiche und detailfreudige Standardwerk im besten Erhalt, verzeichnet ebf. die Kriegsschäden.(Fotomechanische Nachdruck der 1932 erschienen 1. Auflage ergänzt um Marginalien zur Kennzeichnung der im Jahr 1975 noch vorhandenen Objekte) druckfrisches Exemplar

      [Bookseller: Antiquariat Michael Solder]
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        The Blonde Captive

      [Los Angeles, California] : Columbia Pictures, [1932]. Group of seven monochrome lobby cards for the film The Blonde Captive (1932), each 280 x 355 mm, with different designs printed in sepia ink on light card, mild wear to some edges and corners and light toning, but overall a finely preserved group. "In 1928 the Australian racial psychologist Stanley David Porteus went to northwest Western Australia and central Australia to conduct psychological and psychophysical studies of sample Aboriginal groups. Porteus was accompanied by Paul Withington, a Honolulu surgeon and explorer, and two cinematographers. Withington, presenting the façade of a serious investigator searching for evidence of Neanderthal Man, told A.O. Neville, chief protector of Aborigines in Western Australia, that he was also making a film about Aboriginal life for educational purposes. After leaving Australia, Neville became increasingly concerned about this film. His queries to Porteus were met with uncertainty, and he received only silence from Withington. When the film was finally released, its representation of Aboriginal life was grossly distorted. This had far-reaching consequences for future researchers in Western Australia." (Geoffrey Gray, 2004). This controversial film only managed to see the light of day because of a highly unethical and extreme editing process: what was supposed to be legitimate documentary film footage was manipulated in a sinister and cynical manner in order to produce a sensationalist film that was only ever screened in North American movie theatres, gaining a short release in 1932. The film was banned in Australia and until recently had never been screened publically in this country (the film received its first public screening in Australia during Brook Andrew's exhibition Taboo at the MCA in Sydney in December, 2012). Previously, the film had been thought lost until a partially reconstructed version of the film, restored from a nitrate dupe negative, surfaced and was screened at the XXXI Mostra Internazionale del Cinema Libero (Il Cinema Ritrovato ) in Bologna, June–July 2002. For an account of the making of this film, see Geoffrey Gray, Looking for Neanderthal Man, finding a captive white woman: the story of a documentary film, in Health and History, vol. 8, no. 2, 2006. The graphics on the extremely rare group of original American lobby cards offered here demonstrate how the film and its producers were intent on exploiting the generically "exotic". The designs include a curious mix of photographic stills from the film, romanticised scenes of the blonde captive and her captors, an Aborigine spearing a dugong, and - rather bizarrely - images ofMāori, Papuans, a Balinese dancer, a Hawaiian hula dancer and South Sea islanders playing ukuleles.

      [Bookseller: Douglas Stewart Fine Books]
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        Brave New World.

      London: Chatto and Windus, 1932. FIRST EDITION. Publisher's cloth in original dust-wrapper. A few minor nicks to the top edge of the wrapper, a touch browned at crwon and foot. Entirely unrestored. A most attractive copy. Scarce in this condition. A modern highlight, and a landmark of 20th century fiction suggesting that a future of boundless materialist happiness, designer narcosis and no strings attached sex might not be all its cracked up to be. I still say we should give it a fair crack of the whip though. Eschelbac & Shober 10.

      [Bookseller: Adrian Harrington]
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        A Resume of The Elephant in Two Volumes

      No Publisher Info 1932 - 2 books; bound in worn gray leather, heavier wear to the spines; gold embossing on spine and on each cover. The text is all in Japanese other than a table of contents in English. A lot of photos and illustrations; reinforced hinges. Pages toned with age. Overall still a good set of very rare books. A few library reference marks inside; a couple stamps and a couple pages in each with a sticker at the bottom. Over 2,000 pages. Quantity Available: 1. Shipped Weight: 4+ Pounds/Larger. Category: Animals & Birds; Inventory No: 152726. [Attributes: Hard Cover]

      [Bookseller: Easy Chair Books]
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        The International Style: Architecture Since 1922

      W. W. Norton and Co.. Hardcover. New York, 1932. 8vo, publisher's red cloth, 240 pp. A nice copy of the first edition of this classic Modern architecture book. This copy belonged to the architect William Smull, who designed modern homes in the Washington, D.C. area, and has his signature on the front pastedown. An attractive copy, very good overall and generally well preserved. Some slight fading to lettering at spine, tiny marginal tear to page in index with a corresponding stain that affects the margins of a handful of pages. Still very good overall, bright and attractive. Please contact us for additional pictures or information. . Very Good. 1932. First Edition.

      [Bookseller: Auger Down Books]
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        Elf Children of the Woods.

      Harper and Brothers, Publishers. New York 1932 - First Edition. Oblong Quarto, original illustrated boards and illustrated dustjacket. Very uncommon children's fairy story of child elves. This copy with its original fragile thin paper dustjacket, the size of which guaranteed that not many would survive. Near Fine bright copy in Very Good plus dustjacket, some expected surface and edge wear, few closed tears with accompanying creases, few small stains. 0.0 [Attributes: First Edition; Hard Cover]

      [Bookseller: Babylon Revisited Rare Books]
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        CAESAR: Anticka Feerie o 11 Obrazech. Hudbu Slozil Jaroslav Jezek.

      Praha: Odeon, 1932., 1932.. Good. SIGNED BY JAN WERICH - Octavo, bound in brick red cloth with the original pictorial front wrapper by Frantisek Zelenka bound in. The spine is foxed & faded with the head & tail chipped. The corners of the covers are slightly rubbed & creased with tiny dents to their top edges. There is a small area of staining to the rear cover. 88 pages plus colophon & 3 pages of ads. The contents are very good. <p>First edition.<p>Signed in full by Jan Werich on the title page.<p>Shakespeare's "Julius Caesar" has frequently been adapted to reflect the political situation in the country of its production. Here the adaptation by the satiric duo Voskovec and Werich [V + W] reflects the threats of fascist persecution and civil unrest which influenced almost all creative output in the Czechoslovakia of the 1930s. The characters of the powerful Roman dignitaries are viewed not through their successful careers but rather through their less successful private lives and human failings. According to Voskovec, Caesar does not represent any individual politcian. He is an aging man, a deceived lover and an effective soldier whose betrayal of republican principles and the bourgeois traditions of patrician morality provokes the resistance of reactionaries.<p>The music for the piece was composed by V + W's regular composer Jaroslav Jezek. The striking color wrapper illustration, signed "FZ", is by Frantisek Zelenka. Zelenka was the most influential Czech set designer of his time. In the 1930s, when he was closely associated with V + W's Liberated Theatre, his designs were particularly fresh and innovative, influenced by Surrealism, Dada and the Bauhaus. His work was later banned by the Nazis and he was put to death at Auschwitz.<p>The text is in Czech.<p>Jiri [George] Voskovec was born Jiri Wachsmann [1905-1981]. He was a much revered Czech actor and playwright. After World War 1 Voskovec appeared with Jan Werich [1905-1980] as one of a comic duo in the tradition of Laurel and Hardy. "Together with Jaroslav Jezek, the father of Czech jazz, they moulded dadaism, circus, jazz, Chaplin, Buster Keaton, and American vaudeville into a new art form. They created a new form of intellectual political musical." - [Josef Skvorecky: "All the Bright Young Men and Women"]. Having created a sensation with their "Vest Pocket Revue" in April 1927, V + W were invited to join the Devetsil theatre group in May. In 1929 they renamed the group "Liberated Theatre" ["Osvobozene Divadlo"] and they took over every element of the productions. During the 1930s the productions of V + W became increasingly anti-fascist and their "Liberated Theatre" was eventually forced to close in 1938. The following year they fled to the United States. After World War 2 Voskovec settled permanently in the U.S. and Werich returned to Czechoslovakia. Both actors went on to have long careers in film, Voskovec appearing in 72 movies and Werich in more than 50. Four of their stage works were made into films: "Powder and Gasoline" [1931], "Your Money or Your Life" [1932], "Heave-ho" [1934], and "The World Belongs to Us" [1937]. Voskovec is known for his role as Juror #11 in "12 Angry Men".

      [Bookseller: Blue Mountain Books & Manuscripts, Ltd.]
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        IL FANTE ALTO DA TERRA - Principato, I ed. 1932 - Dedica autografa

      Dedica autografa dell'autore all'occhietto. Casa Editrice Principato - Messina, I edizione 1932. Brossura editoriale. 15x21; pp.238. Intonso e in Ottimo stato.

      [Bookseller: Libreria L' Angolo del Collezionista]
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        Muggins Mouse

      Racine, Wisconsin: Whitman Publishing Co, 1932. Hardcover. Very Good/Very Good. Keith Ward. WARMLY INSCRIBED BY MARJORIE BARROWS on the dedication page. A very solid copy to boot of the 1932 1st edition. Tight and VG (with light wear along the panel edges and very light bumping at the tips) in a bright, VG dustjacket, with several small closed tears and light creasing and chipping to the panel edges and flap-folds. Still though, a very presentable copy. Tall quarto, wonderfully illustrated thruout in color and black-and-white by Keith Ward.

      [Bookseller: Appledore Books, ABAA]
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      [Bookseller: Libreria Antiquaria Pagine Scolpite]
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        Brave New World

      Chatto and Windus, 1932. Hardcover. Very Good. A first edition, first printing published by Chatto and Windus in 1932. A very good+ book without inscriptions in a dust wrapper which has been professionally restored and now presents well.

      [Bookseller: John Atkinson Books]
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        Doll Dreams

      Hollywood: Hollycrofters Inc., Ltd, 1932. Limited Signed Edition. Blue Cloth. Very Good +. Franz Geritz, Millard Sheets, Ralph Holmes, Paul Landacre, Helen Candler Miller, Arthur Millier. Signed by Author, Editor, IIllustrators. 121 Pp. #74 Of 150 Copies Of The Signed, Limited Edition, Signed By Author, Editor, And All Iillustrators. Blue Cloth With Illustrated And Printed Cover Paste-On With Title And Illustration. Stories By Children Aged 7 To 14, Edited By Morrison. Paste-On Is Clean And Undamaged. Covers With Light Rubbing At Corners, Hinges Tight. This Example With An Additional Inscription "Valentine Greetings To Julia From Lucile 1938" By The Editor, Lucile Morrison.

      [Bookseller: Arroyo Seco Books]
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        The Costume of the Theatre

      Henry Holt, New York 1932 - First American edition. Quarto. Red cloth gilt. Light ownership stamp of the Tamara Daykarhanova's School for the Stage in New York City, fine, lacking the presumed dustwrapper. This copy is Inscribed on the half-title to Daykarhanova by the entire Class of October, 1936 (all three members), which included Horton Foote: "For (word obscured) for the stage with love and gratitude. The Class of October Nineteen hundred and thirty-six. Jane Rose Price, Horton Foote, Dorothy Vernon Smith McFarland." Daykarhanova was a Russian emigre who trained with Stanislavsky at the Moscow Art Theatre. Foote trained with her in the mid-1930s, and went on to win Academy Awards for his screenplays for *To Kill A Mockingbird* and *Tender Mercies*. An interesting piece of Horton Foote "juvenilia." [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
 18.   Check availability:     IberLibro     Link/Print  



      [Bookseller: Libreria Antiquaria Pagine Scolpite]
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        George Gershwin's Song-Book.

      New York: Random House, 1932. First edition. Quarto, original cloth, with 18 color illustrations by Constantin Alajalov. Inscribed by George Gershwin beneath his frontispiece portrait, "To Dorothy Turnley - Every good wish, George Gershwin." Signed examples of the trade edition are rare. Affixed to the endpapers are several related newspaper clippings and a program from a January 26, 1934 performance by Gershwin and tenor James Melton at the Sioux Falls, South Dakota Coliseum. The program is autographed by Melton. With the bookplate of Dorothy Scallin Turnley. Dorothy Turnley was the first wife of Howard Chandler Turnley, proprietor of the Roof Garden Ballroom in Arnolds Park, Iowa. After her marriage to Howard Turnley, Dorothy married artist Andre Boratko, then director of the WPA Federal Art Project in South Dakota. In near fine condition, lacking the rare dust jacket. Rare and desirable signed and with noted provenance. The classic Song-Book is illustrated with full-page color lithographic plates after Constantin Alajalov, and includes such Gershwin standards as "Swanee," "Fascinating Rhythm," "That Certain Feeling," "The Man I Love," "Strike Up the Band," and "I Got Rhythm," among others. "In one of his few prose writings, George provided an introduction for the song book. What is most important... is that it contained the original published version of each song, followed side by side by George's 'improvised' versions of the songs" (Carnovale, 14).

      [Bookseller: Raptis Rare Books]
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        Il Cantastorie di Campari. Quarta raccolta

      Raffaello Bertieri, Milano 1932 - I ed. (1932 X E. F.) con tiratura limitata a 1000 esemplari numerati ad personam. Copia n. 44. In4/ (64)/ bross./ sovraccoperta in carta liscia avorio con titoli in nero ed illustrata in nero/rosso/giallo al primo piatto (disegno di Primo Sinòpico/Primo Sinopico (Raoul Chareun)). Illustrazioni in nero e rosso o giallo di Sinòpico. Firma datata ad inchiostro blu di Primo Sinòpico non autenticata. Stato buono (usura della sovraccoperta ai margini e al dorso - sovraccoperta e pagine leggermente brunite distacco della copertina dal blocco delle pagine). Indice-Elenco: Primavera. 6 Aprile 1930 - Otto giorni prima. 13 Aprile - Le violaciocche. 20 Aprile - Il garofano. 27 Aprile - Il tulipano. 4 Maggio - Il miosotis. 18 Maggio - La margherita. 25 Maggio - La rosa bianca. 1 Giugno - Il papavero. 8 Giugno - Il giglio. 15 Giugno - La gardenia. 22 Giugno - L'oleandro. 29 Giugno - L'ortensia. 6 Luglio - Il geranio. 13 Luglio - La tuberosa. 20 Luglio - La reseda. 27 Luglio - Il caprifoglio. 3 Agosto - Il ciclame. 10 Agosto - L'eliotropio. 17 Agosto - L'edera. 24 Agosto - Il loto. 31 Agosto - La bocca di leone. 7 Settembre - I begliuomini. 14 Settembre - La cineraria. 21 Settembre - La vainiglia. 28 Settembre - La cedrina. 5 Ottobre - La salvia. 12 Ottobre - La mimosa pudica. 19 Ottobre - Le belle di notte. 26 Ottobre - Il Crisantemo. 2 Novembre - La camomilla. 9 Novembre - Il giacinto. 16 Novembre - L'ellèboro. 23 Novembre - Il calicanto. 30 Novembre - Il galanto. 7 Dicembre - La mammola. 14 Dicembre - La viola del pensiero. 21 Dicembre - I fiori finti. 28 Dicembri - Tutti i fiori. 4 Gennaio 1931 - Son belli, ma. . 11 Gennaio - Nel giardino dell'anima. 18 Gennaio - L'amuleto. 25 Gennaio - Il ferro. 1 Febbraio. Il ragno. 8 Febbraio - Cuor contento. 15 Febbraio - Coralli, eccetera. . 22 Febbraio. [Attributes: Soft Cover]

      [Bookseller: De Carlo]
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        First Lesson

      , 1932. 1932. First Edition . ASTON, James [i.e., WHITE, T.H.]. First Lesson. London: Chatto & Windus, 1932. Small octavo, full yellow cloth, original dust jacket. $1500.First edition of White

      [Bookseller: Bauman Rare Books ]
 22.   Check availability:     ABAA     Link/Print  

        The Taxi-Dance Hall

      Chicago: University of Chicago Press. (1932). First. First edition. Octavo. 300, [1]pp., three folding maps of Chicago bound in. Small stains near the spine, thus very good, in very good or better dustwrapper with a few small stains, mostly on the front panel. Sociological exploration of the taxi-dance hall in Chicago. The author's conclusion was that the hall, where young girls danced with gentlemen for payment (for the proverbial "dime-a-dance") was a school for sexual exploitation, but which might fulfill a positive place in society for lonely men if the halls were carefully monitored. Although the taxi-dance has become extinct, its cousin the lap dance is apparently still flourishing, albeit we are told, for somewhat more than a dime. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Voyage au bout de la nuit ENVOI AUTOGRAPHE

      Paris: Denoël & Steele, 1932. Fine. Denoël & Steele, Paris 1932, 12x19cm, relié. - Published in the same year as the first.   Red morocco binding by Patrice Goy, spine in six compartments with date at foot, marbled endpapers, covers and spine preserved, top edge gilt, slipcase trimmed with red morocco, marbled paper boards.   Inscribed by Louis-Ferdinand Céline to Abel Gance: "A mon ami Abel Gance fidèle dans un voyage autour de tout. LF Destouches [To my friend Abel Gance, faithful in our voyage around everything. LF Destouches]."   A few marginal reader's marks in pencil at end. A friend of Gance's since 1917, Céline bore him a deep admiration: "In a hundred years, so much more of your films will remain than of my big funerary drum." The respect was mutual and Gance was the first to envisage a cinematic adaptation of Voyage in November 1932, a project to which Céline became very attached. Abel Gance bought the rights from Denoël for 300,000 francs. An impossible task, he abandoned the project a year later. He was succeeded by Claude Autant-Lara, Michel Audiard, Sergio Leone, Federico Fellini, and François Dupeyron...all of them failed, though not for lack of enthusiasm ("The Voyage is not just a film, it's a duty - we owe the old man everything!" - Audiard) or the efforts of Céline himself. In 1934, he visited Hollywood to "sign an option for six months with Lester Yard...Of all the agents, he seemed the most able, the most cunning"). As to whether it was a missed opportunity or an impossible challenge, Céline concluded: "I'm leaving nothing to cinema! I've sent it packing...with its shifty melodrama...its simili-sensible! I've managed to capture all the emotion already..." (Entretiens avec le professeur Y). Following this exchange with his inflammatory friend, Abel Gance destroyed a large part of their correspondence, and this inscription thus is one of the rare witnesses of the meeting of two of the pioneers of modern artistic expression. A fine and unique copy, perfectly presented.  - [FRENCH VERSION FOLLOWS] Edition de l&#39;année de l&#39;originale. Reliure en plein maroquin bordeaux, dos à cinq nerfs, date en queue, gardes et contreplats de papier à la cuve, couvertures et dos conservés, tête dorée, étui bordé de maroquin bordeaux, plats recouverts de papier à la cuve, reliure signée de Patrice Goy. Exceptionnel et précieux envoi autographe signé de Louis-Ferdinand Céline à Abel Gance : "A mon ami Abel Gance fidèle dans un voyage autour de tout. LF Destouches." Quelques repère de lecture marginaux au crayon de papier in-fine. Ami de Gance depuis 1917, Céline lui voue une grande admiration: "Il restera dans cent ans bien plus de votre cinéma que de mon gros tambour mortuaire". L&#39;estime est réciproque et Gance sera le premier à envisager, dès le mois de novembre 1932, une adaptation cinématographique du Voyage, projet auquel Céline tenait beaucoup. Abel Gance acheta les droits à Denoël pour 300.000 francs. Impossible défi, il abandonna le projet un an plus tard. Lui succéderont : Claude Autant-Lara, Michel Audiard, Sergio Leone, Federico Fellini, François Dupeyron... Autant d&#39;échecs, malgré la ferveur des cinéastes ("Le voyage n&#39;est pas un film, c&#39;est un renvoi d&#39;ascenseur, le père Céline on lui doit tout !" - Audiard) et les efforts de Céline (il se rendit à Hollywood en 1934 pour "signer une option de six mois avec Lester Yard [...] De tous les agents, il m&#39;a semblé le plus apte, le plus coquin"). Rendez-vous manqué ou rencontre impossible, Céline conclura : "Je laisse rien au cinéma ! Je lui ai embarqué ses effets ! ... toute sa rastaquouèrie-mélo! ... tout son simili-sensible ! [...] j&#39;ai capturé tout l&#39;émotif ! ..." (Entretiens avec le professeur Y). Abel Gance ayant, par la suite, détruit une grande partie de sa correspondance avec son sulfureux ami, cette dédicace constitue un des rares témoignages de la rencontre de deux pionniers du langage artistique moderne. Bel et unique exemplaire parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        De la psychose paranoïaque dans ses rapports avec la personnalité EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Le François, 1932. Fine. Le François, Paris 1932, 16x24cm, broché sous chemise et étui. - Genuine first edition of the thesis of Jacques Lacan he was not drawn large and uncommon papiers.Très nice autograph dedication of the author scientist Marcel Boll: ".. Marcel Boll As a sign of contradiction courteous" dated July 9 1933.spine and boards slightly and marginally passed, pale and tiny head of the back spot, small spots in margins of endpapers, half-title, title and two pages of printed signings, ex- dono topped the first garde.Rarissime copy of the famous thesis of the author enriched autograph autograph dedication of the author very "Lacanian" the famous physicist, founding member of the Rationalist Union. - [FRENCH VERSION FOLLOWS] Véritable édition originale de la thèse de Jacques Lacan dont il n'a pas été tiré de grands papiers. Exemplaire de première émission, sans le sous-titre: "chef de clinique à la Faculté de Médecine de Paris" qui fut ajouté pour le second tirage. Très rare et bel envoi autographe daté du 24 octobre 1932 et signé de Jacques Lacan : « à Cuel, dont la personnalité scientifique me fut d'abord prônée par notre maître Trénel, et dont la rencontre ne m'a pas déçu, en signe de très particulière sympathie. » Dos très légèrement insolé sans gravité. Notre exemplaire est présenté sous une chemise en demi maroquin noir, plats de papier décorés de motifs abstraits, étui bordé, ensemble réalisé par Goy & Vilaine. J.R Cuel, Jeune psychiatre, fut comme Lacan, l&#39;ami et l&#39;élève de Marc Trénel, chef du service de l&#39;asile de Maison Blanche auprès duquel Jacques Lacan s&#39;initie aux troubles du langage. Nous n&#39;avons pas trouvé beacoup d&#39;informations sur cet ami que Lacan appelle par son patronyme sans mentionner son prénom sinon une intervention qu&#39;il fera en 1948 à propos de l&#39;exposé de J.R. Cuel, alors Membre du "Groupe de l'Évolution Psychiatrique", sur la « place nosographique de certaines démences préséniles ». A cette occasion, c&#39;est encore par cette familière dénomination que le célèbre psychanaliste débutera son appréciation du travail de son confrère: "Je m'associe aux compliments faits à Cuel..."  Le libraire Hervé Valentin à référencé précédemment les exemplaires connus de cette thèse imprimée à très petit nombre et que Lacan fit sans doute retirer de la vente après avoir découvert qu&#39;un de ses patients était le fils de "Aimée" dont le cas est longuement exposé ici. parmi les 27 exemplaires recensés, seulement 9 sont du premier tirage dit "sans sous-titre" et destiné à être offert à ses proches amis et confères : 2 exemplaires sans envois et 9 exemplaires avec une dédicace autographe réalisée entre octobre 1932 et juillet 1933. Ajoutons aujourd&#39;hui cet exemplaire qui s&#39;avère être l&#39;un des trois premiers exemplaires dédicacés par Lacan, juste après celui de ses parents. - à ses parents [eas du 23 octobre 1932, le plus ancien connu] - à [J.R] Cuel [eas du 24 octobre 1932] - à Pierre Migault [eas du 24 octobre 1932] - au Dr. Pierre Verret [eas du 25 octobre 1932] - au Dr. Morgensten [eas du 3 novembre 1932] - à Guillaume de Tarde [17 novembre 1932] - au Dr Vogt [eas du 25 nov. 1932] - au Dr. Martin Sisteron [23 janvier 1933] - au Dr. Jean Picard [23 janvier 1933] - à Marcel Boll [9 juillet 1933]. En fin, un seul exemplaire dédicacé du second tirage, avec la mention du "chef de clinique à la Faculté de Médecine de Paris" : - à Eugène Minkowski [eas septembre 1933] Rarissime exemplaire de la fameuse et thèse de Jacques Lacan enrichi d'un des très précoce envoi autographe signé à sonc confrère.  

      [Bookseller: Librairie Le Feu Follet]
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        Les Joies du Sport. Presentation de Jules Rimet. Illustrations de Milivoy Uzelac.

      Paris, Aux Editions d`Art 1932.. Doppelbogen mit faks. handschriftl. Geleitwort von Jules Rimet, 1 farbiges Portrait von Jules Rimet und 28 (von 45) Sportdarstellungen in Pochoirmanier von Milivoy Uzelac. Lose in illustr. Orig.-Umschlag. 42 x 32 cm. Eins von 750 Expl. - Prachtvollen farbige Illustrationen von Milivoy Uzelac zu verschiedenen Sportarten wie Judo, Angeln, Stierkampf, Großwildjag, Skirennen, Rugby, Schwimmen, Fechten, Boule u. a. - der Umschlag stärker lädiert, die Tafeln sauber und gut erhalten!

      [Bookseller: Antiquariat Turszynski]
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      [London]: Philip Allan, 1932.. Octavo, pp. [1-6] 7-271 [272: blank], original blue-green cloth, spine panel stamped in black. Enlarged edition. New edition of THE PURPLE SAPPHIRE (1921) with four additional stories. "Collection of stories supposedly 'selected from the unofficial records of the University of Cosmopoli' by its 'sometime registrar' -- the mock introduction is dated 1952... The stories (not all supernatural) are satirical, mocking the gentility and earnestness of the academic school of supernatural writing developed by M. R. James... The ironic wit is not to everyone's taste, but these are among the best satirical weird tales." - Barron (ed), Horror Literature 3-28. Ashley, Who's Who in Horror and Fantasy Fiction, pp. 92-3. Bleiler, The Guide to Supernatural Fiction 204. Bleiler, Science-Fiction: The Early Years 226. Clareson, Science Fiction in America, 1870s-1930s 080. Clarke, Tale of the Future (1978), p. 60. Locke, A Spectrum of Fantasy, p. 36. Sullivan (ed), The Penguin Encyclopedia of Horror and the Supernatural, p. 201. Bleiler (1978), p. 26. Reginald 07140. Page edges a bit tanned, else a fine copy in about good pictorial dust jacket with several long closed tears, most along folds, shallow chips from edge, several wrinkles and creases, tanned spine panel, and internal mends at spine ends with brown paper tape. Rare in jacket. (#152555)

      [Bookseller: L. W. Currey, Inc.]
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        THE ZIONIST Issued by the New York Zionist Region for the Third Annual Maccabean Festival at Madison Square Gardenn, Saturday evening, December 24, 1932

      New York Zionist Region for the Third Annual Maccabean Festival at Madison Square Gardenn, New York 1932 - Pagination starts with page [3]. Apparently the printed front wrapper is deemed as pages 1 and 2. [Attributes: Soft Cover]

      [Bookseller: Meir Turner]
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        6 Autograph letters signed to Samuel Goudsmit. 13 pp. total.

      Charlottenburg & Berlin, 1932. His Scientific Archives Were Destroyed in a Bombing Raid; Only 189 Letters Survive, of which the Five Offered Here are Previously Unknown Paschen, Friedrich (1865-1947). 6 Autograph letters signed to Samuel Goudsmit (1902-78). Charlottenburg or Berlin, January 15, 1932-June 13, 1935. 13pp. total on 7 sheets measuring either 237 x 208 mm. or 286 x 223 mm. Creased where previously folded, with minor soiling and wear along creases, otherwise fine. English translations included. Excellent series of very technical scientific letters to Goudsmit discussing his ongoing investigations in spectroscopy, particularly problems of hyperfine structure and the Zeeman effect. Described by one biographer as "probably the greatest experimental spectroscopist of his time" (quoted in DSB), Paschen, in the words of Niels Bohr, had a "happy intuition" that led him always to "pursue experimentally those problems the investigation of which proved to be of decisive significance for the extension of general theoretical conceptions" (quoted in DSB). Paschen's experimental work in spectroscopy provided some of the most revealing clues to atomic structure; it was particularly useful to Arnold Sommerfeld, whose modifications of Bohr's theory of atomic structure had impressed Paschen so much that he devoted six months to confirming the theory's predictions. During his tenure as professor of physics at the University of Tubingen (1901-24), Paschen made Tubingen into Germany's most important center of atomic spectroscopy. In 1924 he succeeded Nernst as president of the Physikalische-Technische Reichsanstalt, the highest post to which a German experimental physicist could aspire; on May 1, 1933, after the Nazi's seizure of power in Germany, he was forced to retire in favor of the pro-Nazi physicist Johannes Stark. Despite this setback, Paschen was able to continue his laboratory research for a few years afterward-although at the cost of considerable difficulty and personal humiliation, some of which is hinted at in the letters offered here. These six letters from Paschen to Goudsmit are almost exclusively concerned with the scientific investigations performed by the two men during the years 1932-1935; they exemplify the interplay between theoretical and experimental physics so characteristic of Paschen's career. This is particularly apparent in the last four letters (August 22, 1933-June 13, 1935), in which Paschen provided Goudsmit with detailed information on the results of his latest researches: Thank you so much for kindly sending me your and Mr. Bacher's work on anomalies in hyperfine structures. At the same time please accept my cordial congratulations on your wonderful quantitative settlement of the disputed questions regarding Al II and Hg I. For Al everything now appears to be in perfect order. Also, in the meantime I have become convinced that two fine structure components of the two lines 4 1,3F3-nG are simple and do not have any weak companions. Accordingly, the term nG must be split with 0.48 cm-1, as you conclude, and not with 0.35 as I assumed. . . . It is fascinating how the same problem is approached independently from several angles. However, your work is very important because you derive quantitative, definitive results. And in his letter of Aug. 22, 1933: You were so kind to write me concerning the theoretical fundamentals for comprehending the fine structures of the lines of Al II. Since you went to such trouble, I assume that the progress of my work on this topic would be of interest to you and would like to inform you that the publication thereof will not be forthcoming for some time. . . . I have made a study of extensive new material and have progressed to the point that the entire spectrum can be based quite soundly on the values of the fine structure terms. . . . All triplet terms now have two different numerical values corresponding to j + 1/2 and j - 1/2, which are based on the fine structure splitting values that you provided. . . . Paschen's letter of April 28, 1935 praised Goudsmit and Pauling's The Structure of Line Spectra (1930) and discussed Sch¸ler's article on the hyperfine structures of europium: The book by Pauling and Goudsmit is today the "bible" of the practical spectroscopist. However, your experimental studies, the fundamentals of hyperfine structures, conducted in collaboration with Back, belong to the classic works of spectroscopy. . . . An article by Sch¸ler and a colleague on hyperfine structures of lines of europium recently appeared in Zeitschrift fur Physik [Journal of Physics]. The authors find violations of the Laude rule and attribute this to the geometric arrangement of nucleus and electron shell. This will certainly be of interest to you. I would like to point out that in this article results of my measurements are also mentioned and are presented in support of the proposed hypothesis. The spectrum In II contains a great many deviations from the Laude rule. However, in any event they involve detectable disturbances of the type that you discussed in the case of mercury two years ago. And in the final letter of June 13, 1935: Your kind letter of May 17 is of great value to my current research and I am very grateful for the effort you put into it. At this time I cannot say very much about the calculations you provided, but you have inspired a renewed testing of fine splittings that will require much time before it is ultimately conclusive. [A detailed numerical analysis of the fine splittings of various terms follows.] . . . I am conveying these details to you since you appear to hold the key for the peculiar splittings of the 1,3F3 terms. I myself am so deeply involved with the measurements and thereby so overloaded with numbers that I cannot yet delve into the theory. However, clarifying the F terms interests me and does not seem to be difficult for you. . . . Similar to the Runge rule for the anomalous Zeeman effects, only whole-number fragments of the splitting factor A = a or the span S = will thus always be present. In this regard the fine structure is indicated as Zeeman effect of the nuclear moment. This is my interpretation as an experimental physicist, even if it is theoretically self-evident. The conclusion I was inclined to draw, that namely absolutely no fine structure splittings can occur other than such whole-number fragments, is however much more difficult to substantiate than with the Zeeman splittings, since the splittings are too small and the measurements lack the required accuracy. The first two letters in this series, although briefer, are also of interest. In the first (January 15, 1932), Paschen gave Goudsmit permission to include the Rydberg spectrographic tables in a proposed study, and praised Goudsmit for "the wonderful and renowned articles you have published to advance theoretical and practical spectroscopy. The discovery of electron spin was a very great accomplishment. . . ." In the second (April 9, 1933), Paschen acknowledged Goudsmit's gift of a copy of his and Bacher's Atomic Energy States (1932): "I would like to express my highest gratitude for this valuable dedication and at the same time express my delight in seeing that you undertook this effort of producing this valuable but laborious work. All spectroscopists will be greatly indebted to you. So far I have read only the introduction and I have been delighted by the precise and clear presentation. I will now use the tables quite extensively, since they render the extremely tedious bibliographic search superfluous." According to the Dictionary of Scientific Biography, all of Paschen's scientific manuscripts perished in November 1943 when his house was destroyed in a bombing raid; thus his letters to scientific colleagues such as Goudsmit represent his only surviving unpublished work in physics. The DSB gives an inventory of 184 known letters by Paschen to other physicists, taken from Kuhn's Sources for the History of Quantum Physics and the catalogues of the Niels Bohr Institute and the American Institute of Physics; of these 184 letters, only one to Goudsmit (the Jan. 15, 1932 letter included in the present collection) is cited. The collection of letters we are offering here, replete with formulae and scientific data, thus marks an important and valuable addition to the Paschen canon.

      [Bookseller: Jeremy Norman's]
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        Vtoroe rozhdenie: Trudovaia kommuna im. F.E. Dzerzhinskogo [i.e. The Second Birth: Dzerzhinsky's Working Commune]

      Khar'kov, 1932. 124, [4] pp.: ill. 22x15 cm. In original publisher's wrappers. Very good, slightly rubbed, small tears and losses of small pieces of spine, Soviet bookshop's stamp on the recto of the rear wrapper, front wrapper is partly detached from the block. The first and only edition. One of 3000 copies. Extremely rare. Constructivist styled book design. This edition is a detailed report of the 5 year work of the Dzerzhinsky's children's working commune with statistical data and richly illustrated by photographs of children and young people, produce, working process. A very interesting section of the book includes children's life stories. The last pages of the book contain notes and lyrics of Dzerzhinsky's commune's march. By the beginning of the 1920s there were about 6 million homeless children in Russia as a result of the World War I and Russian Civil War. In 1921 Felix Dzerzhinsky (1877-1926) announced the idea of a working commune for children that will reduce the level of homelessness. The first commune appeared near Poltava that year. In 1927 it moved to Khar'kov commune named after Felix Dzerzhinsky and contained 60 children. During the first year a new commune organized agricultural production to feed themselves and next year it was decided to produce goods that are not available in the Soviet market. This production allowed the communards to master complex professions. As a result the Dzerzhinsky's commune built the first Soviet factory of electric drills and a little later they created the production of cameras. In 1930s they published several guides to these products. Worldcat locates no copies.

      [Bookseller: Bookvica]
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        Young Lonigan: A Boyhood in Chicago Streets

      New York: Vanguard Press. 1932 [actually 1935]. First edition, second issue, a re-issue using first printing sheets with a three page foreword by Robert Morss Lovett inserted before the original introduction by Frederic M. Thrasher, and bound slightly shorter than the original issue. Fine in blue cloth in a nice, very good or better dustwrapper with shallow loss at the spine ends. A very nice copy of a book seldom found in any condition. The first book in the Studs Lonigan trilogy, this book was selected as number 29 on the Modern Library's list of the best 100 novels of the 20th Century. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Death in the Afternoon

      New York: Charles Scribner's Sons, 1932 First edition, first printing. Original publisher's cloth, lettered in gilt. Presentation copy signed and inscribed by Hemingway to close friend, Guy Hickock: "To Guy, or Monsieur Tripas, / with much affection, / Ernest". Some light rubbing to the extremities and some stains to the rear cover, else very good. Guy Hickock was an American journalist who began working for the Brooklyn Eagle in 1914, then a major publication. After World War I, Hickock moved to France, where he opened up a Paris bureau for the Eagle in 1918. The Paris center also served as a travel hub for Americans in Paris, which is likely where Hickock met Ernest Hemingway. Despite Hickock being over a decade Hemingway's senior, the two were close friends in the 1920's, with Hickock assisting Hemingway as he worked in Paris and traveled abroad. In 1927, the two traveled together to Italy, a trip which would become the basis for Hemingway's short story "Che Ti Dice La Patria?" as well as an inspiration for Hickock's own journal articles. The Hemingway Review 25. Death in the Afternoon is Hemingway's non-fiction book about the sport of bull-fighting, which ranges from technical descriptions of the art of the sport to philosophical conjectures about people who are interested in or partake in bull-fighting. Hemingway first became interested in bull-fighting after attending the Festival of San Fermínin in Pamplona, Spain in 1923, and became a lifelong aficionado. This technical text is enlivened by Hemingway's clear passion for the sport and keen understanding of its nuances. Although Death in the Afternoon is the author's first full book-length non-fiction piece, Hemingway's love for bull-fighting can also be seen in his 1926 novel The Sun Also Rises.. Signed by Author. First Edition.. Hard Cover. Near Fine.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        Superb and Unusual Signed and Inscribed Photograph of the All America Board of Baseball, 4to ( 8 x 10 inch) gelatin silver print, Dec 17-1933

      Vintage matte-finish photograph showing Ruth seated with several members of the 1932-1933 All America Board of Baseball, signed and inscribed to Pittsburgh Sun-Telegraph sportswriter Harry Keck in fountain pen, "Regards to my fellow Board Member, Harry Keck, Dec. 17-1933, Babe Ruth". Ruth's signature is clear though penned across an unevenly dark background. The photograph reflects baseball history, not only Ruth's role as an all star player, but also the development of the All Star tradition in its various forms. The MVP awards began in 1931 and the Baseball Hall of fame opened in 1936. On verso, residue of archival tape on upper corners, otherwise condition is fine. During the late 1920s, Babe Ruth's agent Christy Walsh came up with the idea of creating the All America Board of Baseball, a council designed to annually honor baseball's best players at each position. With Ruth as Chairman of the Board, a panel of ten sportswriters (one from each Major League city) was responsible for choosing an All America Baseball Team. The players selected would receive an award in the form of a certificate signed by Ruth and the panel of sportswriters. The All America Board of Baseball was a precursor to the All- Star tradition. This is a notable photograph from the early years of recognizing the best players of a baseball season.

      [Bookseller: Schulson Autographs]
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        Light in August

      [New York]: Harrison Smith & Robert Haas, 1932. First edition, first printing, first binding, 8vo, pp. [4], 480; dust jacket with creases and small chips at the extremities, and one large piece missing from the top of the spine panel causing loss to the word "in" and also the "STC" of August. Petersen A13.1a.

      [Bookseller: Rulon-Miller Books]
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      LATERZA, BARI 1932 - SCRITTORI D'ITALIA ITALIANO A cura di Costantino Panigada, volume intonso, pagine color paglia con lievissima traccia di umidità ai bordi superiori ed angoli esterni, lieve fioritura ai tagli non rifilati, quarta bianca rosicchiata, brossura editoriale con traccia di umidità, con lievissima fioritura e con bordi stanchi

      [Bookseller: Biblioteca di Babele]
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        The Art of Mixing

      Macrae Smith Company 1932 - 49 pp. Second printing. Very Good, with light rubbing and light soiling to cloth, very faint staining to prelims, and a small tipped in article in text causing offsetting to the adjacent page. A charming copy of this scarce cocktail guide. [Attributes: Hard Cover]

      [Bookseller: Burnside Rare Books]
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