Weil, Susan & Marjorie Van DykeBiblio.com
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141347New York: Vincent FitzGerald 1987. Japanese style binding in purple and green Japanese cloth matching fold-over case. FitzGerald & Co. Vincent. 9 x 12 inches. Japanese style binding in purple and green Japanese cloth matching fold-over case. 40 pages. Interpreted by Susan Weil and Marjorie Van Dyke. Privately printed by Vincent FitzGerald in an edition of 65 copies signed by Susan Weil and Marjorie Van Dyke of which this is one of 50 copies available for sale. A fine copy in fine clamshell box.<BR> <br /> <BR> <br /> Text and titling printed by Daniel Keleher and Bruce Chandler at Wild Carrot Letterpress in typefaces created by Dan Carr & Julia Ferrarie at the Golgonooza Letter Foundry and printed on Moulin du Gue Japanese papers. Calligraphy by Jerry Kelly. With 62 etchings by Marjorie Van Dyke assisted by Maria Luisa Rojo at The Printmaking Workshop employing over 150 plates original watercolors collage and hand cutting printed on Moulin de Gue paper and Japanese papers. The texts of the forty epiphanies are printed in full and those selected for interpretation are assigned thematic divisions: "Planes" "Death" "Dreams" and "Games" with Weil undertaking the first two sections and Van Dyke the latter two. The thematic sectional titles to the divisions of the illustrative matter are keyed numerically to the relevant epiphanies in the text. Lithography by Rhae Burden and Collage creation by Zahra Partovi. Bound loose in hand-made box by David Bourbeau at his Thistle Bindery covered with Japanese hand-made silk with an incised line of Japanese tea paper showing a profile of Joyce.<BR> <br /> <BR> <br /> This book covering death word games / puns how a person dreams while sleeping and planes is considered a high-spot of Vincent FitzGerald & Company. Vincent FitzGerald unknown
1966129888N.P.: n.p. 1966. Limited Editions Club. framed painting 34 by 28 inches. A framed watercolor depicting a guard at the fortress and monastic community at Qumran. Shraga Weil 1918-2009 was an Israeli artist. Born in Prague in 1918 he studied at the National School of Arts there. He served in the Hungarian resistance to the Nazis during World War II. After the war he joined the exodus to Israel. He received training in monumental and graphic techniques at the Academy of Arts in Paris in 1953. He worked as a designer and illustrator of books during the 1950s during which time he was illustrator of The Dead Sea Scrolls New York: Limited Editions Club 1966. This work was offered but not used as an illustration for that book. In the 1960s and 1970s he created several architectural designs including the copper doors for the main entrance of the Knesset building and the residence of the President of Israel in Jerusalem. source: Knesset website and Shraga Weil website. Qumran was the location of an ancient Jewish fortress and Essene monastic community where the Dead Sea Scrolls were found beginning in 1947. n.p. unknown books
1966129889N.P.: n.p. 1966. Limited Editions Club. framed painting 34 by 28 inches. A framed painting depicting a guard at the fortress and monastic community at Qumran. Shraga Weil 1918-2009 was an Israeli artist. Born in Prague in 1918 he studied at the National School of Arts there. He served in the Hungarian resistance to the Nazis during World War II. After the war he joined the exodus to Israel. He received training in monumental and graphic techniques at the Academy of Arts in Paris in 1953. He worked as a designer and illustrator of books during the 1950s during which time he was illustrator of The Dead Sea Scrolls New York: Limited Editions Club 1966. This work was included as an illustration in that book. In the 1960s and 1970s he created several architectural designs including the copper doors for the main entrance of the Knesset building and the residence of the President of Israel in Jerusalem. source: Knesset website and Shraga Weil website. Qumran was the location of an ancient Jewish fortress and Essene monastic community where the Dead Sea Scrolls were found beginning in 1947. n.p. unknown books
20029651New York: Vincent FitzGerald & Co. 2002. One of 20 copies all on special paper handmade by Paul Wong at Dieu Donne Papermill each signed and numbered on the colophon by Susan Weil. The artist has titled signed numbered and dated each print as well at the bottom in pencil. Page size: 16 x 16 inches; 6 images plus colophon. Housed in orange silk custom-made clamshell box with inset of blueprint image by the artist of broken glasses printed in white on blue fabric box made by Priscilla Spitler at Hands on Bookbinding new. The colophon was printed by Daniel Keleher at Wild Carrot Letterpress. Vincent FitzGerald & Company did the collage work. The prints are described by the publisher as follows: 1 blueprint image on cover; 2 "Umbrella" photograph which puts the umbrella structure directly on the paper; 3 "Secrets" A collaged blueprint. These private words are layered then cut in strips and woven. The back of the strips are water colored red reflecting slightly. 4 "Grace's Lace" The lace squares are treated with chemicals for a brown print and developed with ultraviolet light. This is mounted on handmade paper which has been water colored pale gray. 5 "Catenary" This is a blueprint collage. The two blueprint hands hold a copper string. The handmade paper is water colored pale green. 6 "Woven Wineglasses" This is a photograph collage. Several direct wineglass images are simply woven into a box form making this study of water and shadows into an abstraction. 7 "Haphazard" This is a formal blue print configuration of glass rectangles. The haphazard quality comes from the unpredictability of the beautiful breaks in the glass. <br/>Susan Weil returns to a medium she used in the late 1940's and early 1950's with her then husband Robert Rauschenberg at Black Mountain College where they had studied with Josef Albers. Carla Schulz-Hoffman notes in her article on Susan Weil in the exhibition catalogue MIND'S EYE 1989 the origins of this art form. In subsequent visits to Black Mountain they began experimenting with blueprint paper. Rauschenberg writes "Sue and I experimented with light-sensitive papers partly because of their low cost.". Schulz-Hoffman writes "In 1951 their son Christopher was born and in that same year 'Life' magazine published a three page article including reproductions of their spectacular 'Blueprints'. Similar to Man Ray's rayographs the blueprints used blueprint-paper and a sunray lamp to capture life-sized silhouettes." She notes "For this reason it is not always possible to credit one particular individual with the discovery of innovations which would prove decisive in precipitating the fall of Abstract Expressionism and in shaping the course which the entire New York School would eventually take. Although many of the results of Weil's productive collaborations with Rauschenberg and Jasper Johns cannot be attributed exclusively to one or another of these artists nevertheless a typically one-sided art historical scholarship tends to ignore Weil or consign her a marginal role.". As well as blueprint images Weil began to use collage in an especially creative way. Her complete mastery of these techniques can be seen in these images. Vincent FitzGerald & Co. unknown books
1904Pro4<p><b>PROUST Jeanne WEIL 1849-1905</b></p><p>5th December 1904 original period film print. Round photography 159 cm diameter mounted on thick paper frame in the photographer's name.Tiny spot on lower margin of the mounting small stainStamp on verso from collection Suzy Mante-Proust collection</p><p><b>One of Jeanne Weil Proust's last portraits less than a year before her death</b></p><p>This portrait was taken on December 5th 1904. At this time aged 56 years old Proust's mother has been a widow for a year. The translation of his son's <i>The Bible of Amiens</i> was published that same year. She died of nephritis a year later on September 26 1905. Nadar did process her portrait and removed the shadows and various flaws on her face.</p><p>Michel Schneider notes that the narrator's mother in the <i>Search</i> is obviously inspired by the mother of the author himself. Jeanne Proust was born Jeanne Weil in 1849 from a Jewish family of the enlightened bourgeoisie. Much has been said about the intellectual complicity that united her with elder son. Marcel Proust who during his mother's lifetime wrote only <i>beautiful</i>things in the spirit of the time <i>Pleasures and Days</i> will not become the novelist of the <i>Search</i> until after the death his mother an event that has somehow freed his creation. In the novel the grief he felt at his death is shifted to that of the grandmother and that of Albertine. In the <i>Search</i> Mom doesn't die she is also mentioned more than 500 times.</p><p>Provenance:<br />-Proust Family<br />-Suzy Mante-Proust only daughter of Robert Proust by descent<br />-Patricia Mante-Proust granddaughter of Suzy Mante-Proust by descent</p><p><u>References:</u><br />Nadar repr. p. 32 in full. <br />Cattaui n° 59 repr. <br />Mauriac repr. p. 10.</p>
20069813New York: Vincent FitzGerald & Company 2006. One of 10 copies only on J.B. Green paper each signed and numbered in pencil on the colophon by the artist Susan Weil. Page size: irregular but about 7 inches x 9 inches; 7 individual collages each hand water colored cut out and assembled by the artist Susan Weil and the publisher Vincent FitzGerald. On the reverse of each individual work of art is a "secret" hand written by the artist. Because they are secrets the reader / viewer can see words but there is no way to read the secret. Bound: loose in translucent plexi-glass box with sliding cover printed colophon in black with title in red visible through side of box new. The images created by Weil are so full of life - one is instantly drawn into the full world of this talented artist who has always included others in her life - children partners pets - all lovingly viewed through her aesthetic. The colors are vivid blues bright yellows gold and silver and the reader / viewer engages with them - knowing they will be unknowable and all the more intriguing. Vincent FitzGerald & Company unknown books
19979655New York: Vincent FitzGerald & Co 1997. One of 20 copies all on Antique JB Green and Japanese Gampi paper signed and numbered by the artist in pencil on each of the 5 etchings. The names of the subject of each portrait is etched in the plate itself. The authors are: Gertrude Stein James Joyce Franz Kafka and Virginia Woolf. The artist is of course Matisse. Each etching measures 12-1/4 inches x 17 inches fine. The etchings were printed by Lothar Osterburg and Vincent FitzGerald. Susan Weil's aesthetic predecessors are portrayed in these blind-drawn etchings created around the same time as BLIND MAN'S BLUFF. She has captured the key element in the features of each. Vincent FitzGerald & Co unknown books
1966129888N.P.: n.p. 1966. Limited Editions Club. framed painting 34 by 28 inches. A framed watercolor depicting a guard at the fortress and monastic community at Qumran. Shraga Weil 1918-2009 was an Israeli artist. Born in Prague in 1918 he studied at the National School of Arts there. He served in the Hungarian resistance to the Nazis during World War II. After the war he joined the exodus to Israel. He received training in monumental and graphic techniques at the Academy of Arts in Paris in 1953. He worked as a designer and illustrator of books during the 1950s during which time he was illustrator of The Dead Sea Scrolls New York: Limited Editions Club 1966. This work was offered but not used as an illustration for that book. In the 1960s and 1970s he created several architectural designs including the copper doors for the main entrance of the Knesset building and the residence of the President of Israel in Jerusalem. source: Knesset website and Shraga Weil website. Qumran was the location of an ancient Jewish fortress and Essene monastic community where the Dead Sea Scrolls were found beginning in 1947. n.p. unknown
1966129889N.P.: n.p. 1966. Limited Editions Club. framed painting 34 by 28 inches. A framed painting depicting a guard at the fortress and monastic community at Qumran. Shraga Weil 1918-2009 was an Israeli artist. Born in Prague in 1918 he studied at the National School of Arts there. He served in the Hungarian resistance to the Nazis during World War II. After the war he joined the exodus to Israel. He received training in monumental and graphic techniques at the Academy of Arts in Paris in 1953. He worked as a designer and illustrator of books during the 1950s during which time he was illustrator of The Dead Sea Scrolls New York: Limited Editions Club 1966. This work was included as an illustration in that book. In the 1960s and 1970s he created several architectural designs including the copper doors for the main entrance of the Knesset building and the residence of the President of Israel in Jerusalem. source: Knesset website and Shraga Weil website. Qumran was the location of an ancient Jewish fortress and Essene monastic community where the Dead Sea Scrolls were found beginning in 1947. n.p. unknown
19782612SUCHIER RALPH 1978. 1.ND. hardcover. Tausend und eine Nacht Über 700 Illustrationen! Erstmalig aus dem Urtext vollständig treu übersetzt und umgearbeitet! SUCHIER, RALPH hardcover
19462547Budapest: Hasomér Hacair 1946. In an original folder. Plates are in fine condition. Small tears on the text plate. Folder little bit torn but still in very good condition. In an original folder. 10 plate with text plate. Ten plates with printed illustrations by Shraga Weil documenting the holocaust period and life in the camps. Shraga Weil Ferenc Ferdinánd; 1918–2009 was a Hungarian born Israeli painter. He studied at the Academy of Art in Prague and École des Beaux Arts in Paris. During WWII he was active in the Zionist underground movement in Budapest working in the workshop for forging documents. After the war he sailed for Palestine on an illegal immigrant ship and became a member of Kibbutz Ha’ogen where he lived until his death. In 1959 Weil was awarded the Dizengoff Prize for painting. He created the doors of the main entrance to the Knesset building and the President’s residence in Jerusalem. Weil painted the wooden panels in the Israeli Hall at the Kennedy Center. (Hasomér Hacair) unknown
H4406Paris: Hermann 1971. Paperback. Very Good. First printings 1939-1971 mainly in very good condition of one of the most important contributions to 20th century mathematics. Also includes Amir D. Aczel's "The Artist and the Mathematician the story of Nicolas Bourbaki the Genius Mathematician who Never Existed" 2006 a book which establishes the greatness and enormous influence of "Bourbaki" as the roots of "New Math" and including its effect on literature and the Oulipo Group. 30 fascicules: the project was ongoing but volumes came out sporadically in the decades after including revised editions of earlier volumes and additional chapters to previous volumes. This set is from the library of Walter Noll a well known mathematician who was a long time professor at CMU. In an interview Noll stated 'I have been accused of being too "Bourbakistic". I plead guilty. I believe the work of Bourbaki was the most important contribution to mathematics in the 20'th century. Bourbaki was not a single individual but a group some of whose members I met personally.' Clifford Truesdell the biographer of Noll wrote that 'Paris brought to Walter his first contact with the work of N. Bourbaki. He saved enough money to buy all the volumes of the Elements de Mathematiques yet published; later he studied some of the volumes systematically. In the Spring and Summer of 1950 Walter acquired "Certificats d'Etudes Superieures" through three examinations at the Sorbonne' 1993. Most volumes bear Noll's signature and the early ones confirm that he acquired them in 1950. The volumes are in very good condition and includes errata slips and other loosely laid in instructions and supplementary material for some volumes. Condition problems are here noted: No. II has light wear to spine XI lacks a third of its spine paper light loss to bottom of front cover no. XII has light loss to spine ends. Most of the missing volumes can be readily acquired online the only troublesome one might be no. IV. The Bourbaki collective whose membership was kept secret had a rule limiting the age of any member to 50 or younger which meant that there was an entire turnover of authors by the late 1950s and again by the 1970s. The Bourbaki group was known for its rigour and adversity to the free-flowing instinctive styles of Poincaré and his followers. The first volumes in first editions are practically unobtainable. Hermann paperback
19979654New York: Vincent FitzGerald & Co 1997. One of 50 copies all on Fabriano Artistico paper each signed by the artist on the colophon. Page size: 4-7/8 inches x 4-7/8 inches; 31 individual leaves cards including "Joker" and 2 "Wild Cards" titlepage and colophon. Bound: housed in red cloth clamshell box by BookLab with title printed in silver gilt on front cover new. The calligraphy is by Jerry Kelly who has printed it letterpress at Kelly / Winterton Press. There are 59 etchings of body parts - some hand watercolored - by Susan Weil from her drawings that were blind-drawn on copper a technique that Weil has used for more than 50 years. The double-sided cards can be shuffled and dealt in any pattern which contributes to the humorous possibilities in the title pun. Further the cards can be re-arranged by simply turning them over creating a new figure. The simple line etchings become incredibly complicated upon closer inspection. Playful and sly touching and always imaginative Ms. Weil gives us her unique view of the human condition touching on varieties of emotions and stages of life with an artist's eye. Vincent FitzGerald & Co unknown books
20019656New York: Vincent FitzGerald & Co 2001. Portfolio of five etchings by Susan Weil signed by Weil on the colophon in pencil and initialed by her with the print number in pencil on each print. Printed on Japanese Gampi paper chine colle on Hahnemuhle Copper paper by Peter Pettengill at Wingate Studio. The etchings are taken from re-strikes of the Rembrandt Self-Portrait etchings purchased by Susan Weil while studying art in Paris at the Academie Julien in the 1940's. For this suite she has cut up the etchings and collaged them to achieve the images herein. The images were made from photogravue plates made by Jon Goodman. Ms. Weil has been experimenting with the use of images made from blueprint paper since 1951 when she and her then husband Robert Rauschenberg were working at Black Mountain College. Her use of collage has dated from this time as well. She has obviously has made these mediums her own. Vincent FitzGerald & Co unknown books
Z1-Q-024-02834Franklin Watts Ltd. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some wear and barcode page may have been removed but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Franklin Watts Ltd unknown
200151565Montpellier Editions Fata Morgan 2001 In-4, en feuilles, couverture et chemise illustres par l'artiste (embotage de l'diteur).Edition originale, runissant 18 citations de Simone Weil choisies par Jean Capdeville qui a ralis dans chaque exemplaire 8 peintures originales en couleurs dont une sur la couverture, une sur la page de titre, 5 hors-texte (dont 3 sur double page) et un in-texte. 5 des citations ont t manuscrites l'encre par l'artiste, chacune pleine page. Jean Capdeville a galement calligraphi le titre de l'ouvrage et les noms de l'auteur et de l'artiste sur le premier plat de la chemise de l'embotage. Tirage unique limit 70 exemplaires numrots sur vlin de Rives, signs par lartiste.
1952032525London: Routledge and Kegan Paul Ltd 1952. First English Edition 1st Printing. Green Cloth. Near Fine/Near Fine DJ. 288 Pp. First English Language Translation Of Her Book Which Was First Published In France In 1949. Gallup B66 For The Eliot Preface. Camus Reportedly Considered Her To Be The Most Important 20Th Century Writer. Book Is Clean Unmarked No Names No Fraying Light Rubbing At Corners. Dj Is Especially Clean And Bright Unfaded Price Clipped At Bottom Of Front Flap With A 1/4" Deep X 1/2" Long Chip At Bottom Of Front Bottom Spine Fold A 1/8' V-Chip At Bottom Of Rear Spine Fold And A 1/8" Deep X 1/4" Long Chip At Top Of Rear Spine Fold. <br/> <br/> Routledge and Kegan Paul Ltd hardcover
1937008688London: E. P. Goldschmidt 1937 8vo 21.5 cm 24 pp. Printed wrappers both wrappers and paper inside are slightly toned. This is a limited first edition restricted to 100 copies featuring Einstein's bibliography. It includes 174 entries encompassing papers collections of papers and their translations. E. P. Goldschmidt paperback
19141820Various places in Germany mostly Darmstadt as well as England Holland the Atlantic Ocean New York and Allentown 1914. Good plus. 144pp. with ten original photographs and printed document mounted at rear. Quarto commercial journal. Black cloth boards edges dyed red. Spine perished boards attached with amateur tape repairs. Text block solid. Minor offsetting from photographs; a bit of soiling to first leaf; light even tanning. Accomplished for the most part in highly legible hand; approximately 17500 words in total. A remarkable manuscript travel journal that documents the European trip of a 22-year-old Pennsylvania woman its interruption by the outbreak of World War I her subsequent stranding in Germany and her trials in securing passage back to the United States. Anna F. Weil b. about 1892 the daughter of an Allentown grocer John Weil departed New York on June 29 1914 aboard the S.S. Rotterdam a 3400 passenger luxury cruise liner operated by the Holland America Line. She arrived in Rotterdam Germany on July 9th and proceeded to connect with family and sightsee in Germany and the Netherlands with plans to proceed to Switzerland and Germany which were cut short by the declaration of war between Germany and England:<br/><br/>"Wed. July 29. To-day war was declared I have many postal cards written to send to American but was told not to send them as they would not reach their destination so all communication with outside countries is cut off. The harbor is closed and no ships can leave or enter German ports. The English cut the German cable a few days ago before war was declared so now we can't even send a telegram from Germany." p.68<br/><br/>At first the war is present in daily life but still seems some distance from it:<br/><br/>"On Sunday Aug. 23. I saw the first wounded French soldiers saw a wagon full but there were well treated by the Germans and the people expressed pity for them as they were a sad looking party. We were at Frankenstein's Castle a ruin on the mountain which can be seen way in the distance from Darmstadt. It was a very nice ramble through the woods and part of the castle is used as a restaurant where we had some thing to eat and drink before resuming our ramble in and about the castle. When at the top of the town it was nice to look over the tops of the trees over the fields and see the villages and the city away off in the distance." <br/><br/>The reality of the situation however quickly becomes more evident and more pressing:<br/><br/>"Aug. 28. Friday. Received a letter from Angeline dated July the 23d. also one from Frank dated August the 4th. Saw hundreds and hundreds of horses which are taken and sent to battle with the men. Saw many companies leaving it was a beautiful sight to see them march as one man. As they passed through the streets the women came and greeted them and gave them flowers. Horses wagons men every thing was covered with the acorn leaves the German emblem of victory and as the women gave the flowers they were placed among the acorn leaves and so they left their homes families and country with flowers and song and their flags waving high above them. It was a beautiful and inspiring sight to see them go but to think of their return made one's heart grow sad. One company that I saw Company 115 had but 30 men left after the battle the rest were dead or wounded."<br/><br/>Throughout the account her German heritage shapes a favorable view of the Germans in the war:<br/><br/>"In Belgium the Germans were very much ill treated they had to flee the country in 1 hours notice and leave every thing back Elizabeth Buehler and her brother as well as other Germans who were living in Belgium in the city of Antwerp had to flee for their lives and all their belongings were taken from them they arrived in Darmstadt with nothing but what they had on their bodies. When the war first broke out the Russians who were in Germany threw bombs and tried various ways of doing mischief. So all were given a chance to leave and got to their own country. Those who refused and did any mischief were taken into custody and placed under guard until the war is over. Those who did any wrong were sentenced to death were shot. This was at least more human that the way some of the Belgians and Russians treated and mutilated the Germans when they had done no wrong and deserved no punishment. War is war and there are rules which we cannot change and are considered honest in warfare but I don't think it right to torture or mutilate a wounded soldier whether friend or foe."<br/><br/>She remained with family at an estate on Dieburger Strasse in Darmstadt Germany until she was able to secure an emergency passport from the American Consul in Frankfurt on September 15th. The return passage was fraught as Holland America misplaced her reservation the ship was delayed and she was forced to find temporary lodgings in Rotterdam when she arrived on October 1st:<br/><br/>"When we got there the proprietor said all was taken this made the porter cross and he said he would find some kind of place for us but we were not going to take any kind of a make shift so we turned and hurried back to the station the porter took hold of my arm and tried to detain us but I broke loose and Mrs. Kramer and I ran as fast as could when we reached the station we were just in time to catch the other four who were driving away in carriages. The eldest one saw us running and stopped the team and waited for us. We got in and such a time till we found lodgings. Every thing was taken which was due to so many Americans and fleeing Belgians. We succeeded in finding a place at 2.30 am where all six of us stayed. Then there was trouble with the driver and one of the Americans went out and called a police-man and settled the trouble and we retired at 3am."<br/><br/>She eventually landed back in The States after a return trip that saw rough seas and an intense scrutiny of passengers upon landing in New York:<br/><br/>"At Staten Island the doctor came to our ship with a yacht flying the yellow flag. Here we stopped for some time the mail ship came and all mail bags were given over to this ship. Then another yacht crowded with American custom officers arrived on the scene and boarded our ship. Then we all had a hurried lunch as there was no time for supper. All had to go on deck until the dining room was in readiness for the officers. It was dark by this time and the ship under way again. When all was ready we had to stand in line with our yellow tickets. Only a few at a time were allowed to enter the dining-room. When once inside we had to look about for the table bearing the number of our ticket. Here we were interviewed by the officer at that table. Some people had a great deal of trouble and were sent from one table to another. Others were refused admission into the United Sates and some had to go to Ellis Island."<br/><br/>The rear pages of the journal are illustrated by 10 mounted original photographs of her initial journey family some sightseeing and her return passage; also tipped in are her emergency passport and a typed letter from the American consul. Overall the journal is a detailed and eventful original woman's travel manuscript as well as a rich primary record of an American civilian caught in Europe during the outbreak of the Great War. A partial transcription with additional excerpts is available upon request. unknown books
194316547London 1943. <p>Weil Ernst 1891-1965. Complete set nos. 1-33 of Weil's rare book catalogues. Approx. 1320pp. total. Plates. London: E. Weil 1943-1965. 218 x 138 mm. Bound in 3 volumes recent cloth red leather spine labels; original printed wrappers present. Fine. Herbert M. Evans' Copies with his purchase notes on the front wrappers of several catalogues and his signature or initials on one or two front wrappers. Typed letter signed from Weil to Evans dated 19 May 1953 bound into Catalogue 20.</p> <p> First Editions of these important catalogues issued by one of the foremost 20th-century dealers of rare books in medicine and science. These copies are from the library of Herbert M. Evans 1882-1971 co-discoverer of Vitamin E and one of the pioneering collectors of rare medical and scientific books. Many of the catalogues in this set bear Evans's pencil or ink notes on their front covers and Catalogue 20 1953 has a typed letter signed from Weil to Evans bound in discussing a possible purchase of four items.</p> <p> Ernst Weil a native of Germany was influenced by his cousin the bookseller Heinrich Eisemann to collect and eventually to sell early printed books. In 1924 he founded with Hans Taeuber the firm of Taeuber & Weil in Munich; in 1933 he moved his family to London where he entered into partnership with E. P. Goldschmidt. In 1943 he began selling books under his own name issuing 33 catalogues before his death in 1965. Although modestly produced his catalogues contain much research and original observation particularly on hitherto ignored medical and scientific books. See E. Weil "A doctor and his books: Harvey Cushing and his library. The formation of the Harvey Cushing Collection" Journal of the History of Medicine 1 1946: 234-246. </p> . unknown books
194316547London 1943. <p>Weil Ernst 1891-1965. Complete set nos. 1-33 of Weil's rare book catalogues. Approx. 1320pp. total. Plates. London: E. Weil 1943-1965. 218 x 138 mm. Bound in 3 volumes recent cloth red leather spine labels; original printed wrappers present. Fine. Herbert M. Evans' Copies with his purchase notes on the front wrappers of several catalogues and his signature or initials on one or two front wrappers. Typed letter signed from Weil to Evans dated 19 May 1953 bound into Catalogue 20.</p> <p> First Editions of these important catalogues issued by one of the foremost 20th-century dealers of rare books in medicine and science. These copies are from the library of Herbert M. Evans 1882-1971 co-discoverer of Vitamin E and one of the pioneering collectors of rare medical and scientific books. Many of the catalogues in this set bear Evans's pencil or ink notes on their front covers and Catalogue 20 1953 has a typed letter signed from Weil to Evans bound in discussing a possible purchase of four items.</p> <p> Ernst Weil a native of Germany was influenced by his cousin the bookseller Heinrich Eisemann to collect and eventually to sell early printed books. In 1924 he founded with Hans Taeuber the firm of Taeuber & Weil in Munich; in 1933 he moved his family to London where he entered into partnership with E. P. Goldschmidt. In 1943 he began selling books under his own name issuing 33 catalogues before his death in 1965. Although modestly produced his catalogues contain much research and original observation particularly on hitherto ignored medical and scientific books. See E. Weil "A doctor and his books: Harvey Cushing and his library. The formation of the Harvey Cushing Collection" Journal of the History of Medicine 1 1946: 234-246. </p> . unknown
201298708D. A. P. Distribution. New. 2012. Hardcover. 1427613753 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Most of text in English and Hebrew with portions in English only. 64 pp. ; 48 color illustrations. -- with a bonus offer-- . D. A. P. (Distribution) hardcover
200357676Berghahn Books. New. 2003. Hardcover. 157181812X . FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - 322 pages. -- with a bonus offer-- . Berghahn Books hardcover
197764791MMFA. As New. 1977. Paperback. 0892800070 . FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - 122 pp. With 44 ills. On 43 pls. one foldout. 28 x 22 cm. -- with a bonus offer-- . MMFA paperback
