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New York: Viking Press, 1946. Book. Very Good. Hardcover. Former Owner Bookplate. First Edition (?).. A fascination biography of the famous and popular French writer, discussing his family background, his personal life, the development of his art of writing, his contemporaries and friends, much more; contains appendix, bibliography. Translated from the German by William and Dorothy Rose. Hardcover, 404pp., binding firm, lettering and pagination clear. Size: 8vo - over 7¾" - 9¾" tall.

NY:: Hastings House,. Very Good in Very Good dust jacket. 1954. Hardcover. Translated from the German and edited by Henry G. Alsberg. First edition thus. INSCRIBED by Friderike Zweig to a previous owner in 1958. Very good in a very good (moderate edge wear with a large chip on the front panel) dust jacket. ; 344 pages; Signed by Author .

10 Bll. 4 Original-Lithographien von Hans Fronius. Nr. 8 von 500 von Hans Fronius signierten Exemplaren. - Die Erstausgabe war 1929 erschienen.- Titel mit einer 5-zeiligen, signierten und datierten Widmung von Hans Fronius. - Leicht gebräunt. *** *** Copyright: Matthaeus TRUPPE Buchhandlung & Antiquariat - Stubenberggasse 7 - A-8010 Graz - ++43 (0)316 - 829552 *** *** Sprache: Deutsch Gewicht in Gramm: 200 Gr.-8°. OKart. (kl. Gebrssprn.).

Berlin: Axel Juncker Verlag, 1923. Limited Edition (#88 of 150). Leatherbound. Very Good. SIGNED. 177 pp. Large octavo [26 cm] bound in full red Morocco with five raised bands and the title gilt on the backstrip. Boards embossed in blind. Top edge gilt. Marbled endsheets and pastedowns. Rubbing and wear to the raised bands of spine as well as edges and corners of boards. Small bookplate on the front pastedown. Signed by Frans Masereel on the page bearing his self-portrait [at page 32]. Includes 42 woodcut illustrations and a pasted-in photograph of Masereel on verso of title. Text in German. This edition was limited to 150 numbered copies on handmade paper, this is copy number 88. "Dieses werk wurde im jahre 1923 in der Buchdruckerei Gustav Ascher, Berlin gedruckt. 150 Exemplare wurden auf Butten gesondert abgezogen, numeriert, vom Kunstler signiert und in einen mit der Hand gefertigten Einband gebunden. Dieses Exemplar tragt die Nummer: 88

New York: The Viking Press, 1939. First Edition. Very Good. First American edition, first printing. Signed by Stefan Zweig on the front free endpaper. Bound in publisher's royal blue cloth with gilt lettering; lacking dust jacket. Very Good with shelf wear at extremities; slight lean to binding, spine faded and mottled, lettering is quite rubbed. Offsetting to end sheets with remnants of small bookseller ticket to rear; contents lightly tanned. Scarce historical novel that was later adapted into film by Maurice Elvey in 1946. Wes Anderson loosely based The Grand Budapest Hotel off this work.

First American edition, first printing. Signed by Stefan Zweig on the front free endpaper. Bound in publisher's royal blue cloth with gilt lettering; lacking dust jacket. Very Good with shelf wear at extremities; slight lean to binding, spine faded and mottled, lettering is quite rubbed. Offsetting to end sheets with remnants of small bookseller ticket to rear; contents lightly tanned. Scarce historical novel that was later adapted into film by Maurice Elvey in 1946. Wes Anderson loosely based The Grand Budapest Hotel off this work.

Londres [London], 1937. Fine. Londres [London] 26 décembre 1937 | 17.90 x 22.90 cm | une feuille | Signed autograph letter to Alfred Cortot and his wife about Richard Wagner's manuscript collection: ""I was lucky enough to be able to acquire the entire lot one day before Bayreuth sent a trusted buyer"". London 26 December 1937, 17.9x22.9cm, one leaf. Autograph letter signed by Stefan Zweig to Alfred Cortot, two pages on one sheet written in violet ink. An outstanding autograph letter in which the avid collector informs his friend Alfred Cortot of his acquisition of unpublished manuscripts of Wagner. Alfred Cortot himself owes his career as a conductor to his early discovery of the German composer. Cortot shared with Zweig his ""almost tyrannical bewitchment [suffered] with as much intoxication as fervor"" for the composer. Zweig, who spoke of his collection as ""more worthy of surviving me than my own works"" (The World of Yesterday: Memories of a European, 1942), recounts for his friend the details of this incredible discovery of hundreds of forgotten leaflets, including Wagner's intimate correspondence, handwritten scores and excerpts from opera librettos, including The Flying Dutchman, The Sublime Fiancée (or Bianca and Giuseppe), Die Feen, Das Liebesverbot (The Ban on Love) and a lost orchestral version of Rule Britannia. In December 1937, as he fled the Nazi regime and settled in London, Zweig became fascinated by the archives of a time when intellectual Europe was living in perfect syncretism. The writer takes a nostalgic look at the manuscripts of Wagner, who like him spent his youth travelling through the capitals of Europe: ""I was extraordinarily fortunate to be able to get my hands on a whole lot of Richard Wagner's musical and literary manuscripts from his early period (Leipzig, Magdeburg, Riga and Paris) during a short stay in Vienna"". Among these precious manuscripts is the extremely rare orchestral arrangement of the patriotic song Rule Britannia, which had been missing for more than sixty years. Sharing his passion for Wagner with his friend, the pianist Cortot, Zweig announced his discovery with the wonder so familiar to collectors when faced with an exceptional find: ""[...] the manuscript is the only one of its kind in the world that has been preserved. It contains things that will be of special interest to you, for example the complete translation (60 pages) of the French version (unpublished (I believe) of the text of the ""Liebesverbot"") entirely in Wagner's hand, as well as the manuscripts of a vaudeville song ""Descendons la Courtille"" (which he performed in his darkest moments) [...] almost thirty pieces of the highest interest and precisely from the rarest period. All this was hidden for 50 years in a private collection and I was lucky enough to be able to acquire the entire lot one day before Bayreuth sent a buyer"". The letter is a fascinating account of Zweig's parallel life, which had earned him a reputation as an accomplished collector. His collection also inspired one of his most beautiful short stories, The Invisible Collection (die Unsichtbare Sammlung) and a pioneering essay in the Deutscher Bibliophilen Kalender (The Autograph Collection as an Art). His hundreds of historical, musical and literary autographs from the Middle Ages to the 20th century were carefully catalogued and collected in the library-museum of his house in Kapuzinerberg: ""In this library, a 'place of worship', he also exercises a real activity as an expert in autographs [...]. ...] The library will attract a number of distinguished scholars, sometimes accompanied by their assistants, who will not hesitate to return to work there quietly for days or even weeks at a time"" (Stefan Zweig, le voyageur des mondes, Serge Niemetz). With this acquisition, Zweig sees the dream of every collector come true. After two years of exile in England, Zweig returned to Vienna in time to purchase these exceptional documents from Bayreuth's emissaries, who had already built up