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Nr. 321 von 450 im Druckvermerk vom Künstler sign. Exemplaren auf Zerkall-Bütten. - Hier alle sieben Lithographien von Fronius eigenhändig signiert. - Umschlagränder tlw. leicht bestoßen. - Tiessen II, 50. ge Gewicht in Gramm: 2000 Qu.-Fol. Mit 7 sign. Lithographien von Hans Fronius. 5 Bll., OKart. m. OUmschlag.

Signed by the translator dr. Paul Huf, with the text: "Voor mijn gullen gastheer Ad Vroom en zijn charmante vrouw, deez Kleine herinnering aan de zoo inspirerende Kerstvriering met het V&D personeel. Zwolle 1919(22/xII)49, Paul Huf de vertaler en verteller". Ad Vroom wos one of the family members of the founders of Vroom & dreesman (V&D). He had a shop in Zwolle and organised the purchase of toys for the shop.

New York: Ursus Books, 2007. Frontispiece by Joseph Goldyne. Pp. 16+[2](colophon, verso blank), hand-tipped frontispiece, the publisher's device on title page and a couple of small text decorations printed in light red/brown; tall demy 8vo; black morocco-backed light brown papered boards, spine lettered in gilt, printed paper title label on upper board, top fore-corner of lower board a trifle bruised, book label of David Levine, Sydney, on the upper pastedown; Ursus Books, New York, 2007. One of 50 numbered copies thus, signed by the artist and printer. *Designed and printed by Peter Rutledge Koch with Jonathan Gerken and Jonathan Fetter-Vorm at Peter Koch Printers, Berkeley, California. The frontispiece is an original etching, As The Blind Remember, by Joseph Goldyne, printed on seventeenth century paper and signed in pencil by the artist. Zweig's short story was originally published in 1925, as Die unsichtbare Sammlung.

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

(Budapest): A fordító kiadás (Neufeld Zoltán), 1933. First Hungarian edition. Signed by the author. Inscribed by the translator. Limited edition up to hundred copies, numbered. In publisher's gilt cloth. Cover lightly stained. In fine condition.. First Hungarian edition. Signed by the author. Inscribed by the translator. Limited edition up to hundred copies, numbered. In publisher's gilt cloth. 159, (1) p. One of the one-hundred signed copies of the first Hungarian edition of Jeremiah, Zweig's pacifist play. Also inscribed by the translator.

New York: The Viking Press, 1939. First Edition. Hardcover. Good. First American edition, translated from the German by Phyllis and Trevor Blewitt. 8vo. 498 pp. Blue cloth, with gilt lettering to the front board and spine, corners rubbed, spine dulled with faint spots around the bottom, spine foot bumped and rubbed, head worn, with a 2cm tear in the cloth. Without the dust jacket. Bookplate of Liliore Green Palmer to front paste-down. Signed by Zweig in purple to the first blank. Clean throughout and the binding tight and square. Good candidate for a rebind, or quite alright as it sits without the dj.

About fine copy ( minute rubbing to spine edges ) of the Second Printing. Signed by Zweig on the front free endpaper.Patterned boards with paper label on spine. Translated by Theodore Koch. Printed at the Lakeside Press, Chicago. Scarce

Evanston, IL: Northwestern University / The Charles Deering Library, 1938. Second Printing. Hardcover. Near Fine. Second printing. Signed by Stefan Zweig in purple ink on the front free end paper. Publisher's patterned red paper covered boards with title labels on spine and upper board. Near Fine with light toning and shelf wear to covers. Signed by the Austrian writer whose work inspired the 2014 Wes Anderson film, The Grand Budapest Hotel.

Leipzig: Insel-Verlag, 1925. New German Edition. Near Fine. New edition, reprint (33-45 thousand), originally published in 1922. Signed by Stefan Zweig in purple ink on the front free end paper. Publisher's orange cloth with spine decorated in gilt and black and front cover lettered in gilt, lacking the dust jacket. Near Fine, with faint fading to the spine, and an owner bookplate to the half-title page. A lovely copy, signed by the author. Text in German language.

IL: Northwestern University The Charles Deering Library, 1938. Book. As New. Hardcover. Signed by Author(s). 16mo - over 5¾ - 6¾" tall. THE OLD-BOOK PEDDLER AND OTHER TALES FOR BIBLIOPHILES by Stefan Zweig. Evanston: The Charles Deering Library, 1938. Second printing signed by the author. Cloth Hardcover, 4 1/8" x 6 1/8". .

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.

s. l.: Im Selbstverlag des Verfassers, 1927. Fine. Im Selbstverlag des Verfassers | s. l. 1927 | 14.50 x 23 cm | reliure de l'éditeur | First edition printed with 440 numbered copies. Work illustrated with 7 wood engravings by Frans Masereel. Pubslisher's binding in half wove-style paper boards with small corners, top edge gilt, ex-libris glued to a paste-down endpaper. Rare handwritten presentation signed by Stefan Zweig to writer Max Spanier who disappeared during the hell of the Holocaust: “Im herzlicher Erkenntlichkeit” (“With sincere gratitude”).

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