Rare Signed Portrait of Ludwig Von Mises
Ludwig Von Mises Signed Portrait.
von Mises, Ludwig.$6,500.00
Item Number: 62034
Portrait of the influential Austrian School economist Ludwig von Mises. Boldly signed, “August 27, 1971 Ludwig Mises.” The portrait measures 8 inches by 10 inches. Double matted and framed. The entire piece measures 16.5 inches by 16.5 inches. Rare and desirable.
Ludwig von Mises was an Austrian-American theoretical Austrian School economist. Mises wrote and lectured extensively on behalf of classical liberalism. He is best known for his work on praxeology, a study of human choice and action. Mises emigrated from Austria to the United States in 1940. Since the mid-20th century, the libertarian movement in the United States has been strongly influenced by Mises's writings. Mises's student, Friedrich Hayek, viewed Mises as one of the major figures in the revival of liberalism in the post-war era. Hayek's work, "The Transmission of the Ideals of Freedom" (1951) pays high tribute to the influence of Mises in the twentieth century libertarian movement. Mises's Austrian School was a leading group of economists. Many of its alumni, including Hayek and Oskar Morgenstern, emigrated from Austria to the United States and Great Britain. Mises has been described as having approximately seventy close students in Austria, and the Austrians as the insiders of the Chicago School of economics. The Ludwig von Mises Institute was founded in the United States to continue his teachings.
Other Books by this Author
Verlag von Gustav Fischer: Jena, 1922.
First German edition of this early work by von Mises. Octavo, bound in cloth. In near fine condition. The English translation appeared in 1936, as Socialism: An Economic and Sociological Analysis.
London: William Hodge & Company, 1945.
First edition of this early work by von Mises. Small octavo, original cloth. Small name on the front free endpaper, near fine in a original dust jacket with a chip to the foot of the spine and a closed tear to the rear panel.
"If history could teach us anything, it would be that private property is inextricably linked with civilization": First German Edition of Von Mises The Theory of Money and Credit; Signed by Him
London: Jonathan Cape, 1934.
First edition in English of Mises’ classic work. Octavo, original cloth. Boldly signed by Ludwig von Mises on the half-title page. In near fine condition.
Jena: Verlag von Gustav Fischer, 1933.
First edition of the early work by von Mises, later translated into English as Epistemological Problems of Economics. Octavo, bound in full morocco, gilt titles to the spine, raised bands, gilt ruled to the front and rear panel, marbled endpapers. In fine condition.
New Haven: Yale University Press, 1951.
First edition of the new edition of this work on socialism by von Mises. Octavo, original cloth. Translated by J. Kahane. In near fine condition. A very nice example.
Princeton, New Jersey: D. Van Nostrand Co, 1960.
First edition in English of a “milestone” in Mises’ groundbreaking theory of human action, containing “his seminal philosophical and methodological” argument for the scope of economic science. Octavo, original red cloth. Signed by Ludwig von Mises on the front free endpaper. Fine in a near fine dust jacket with light wear to the extremities. Translated by George Reisman.
“thinking is always thinking of a potential action": First Edition of Human Action: A Treatise On Economics; Inscribed by Ludwig Von Mises
New Haven: Yale University Press, 1949.
First edition of the economist’s magnum opus. Octavo, original cloth. Presentation copy, inscribed by the author on the front free endpaper, “To Mr. Ernest T. Weir with kindest regards L. Mises.” Fine in the rare original dust jacket with some wear to the extremities. Housed in a custom half morocco clamshell box. Rare and desirable signed and inscribed.
New Haven: Yale University Press, 1949.
First edition, second printing (published one month after the first) of the economist’s magnum opus. Octavo, rebound in cloth. Presentation copy, inscribed by the author, “To Mr. John Rohr Ludwig Mises Dec. 19, 1968.” In near fine condition. Laid in is the rare index of this title by Vern Crawford.
New Haven: Yale University Press, 1957.
First edition of von Mises’ classic work. Octavo, original blue cloth. Signed by Ludwig von Mises on the half-title page. Fine in a near fine dust jacket with light toning to the spine. Housed in a custom half morocco clamshell box.
London: William Hodge & Company, 1945.
First edition of this early work by von Mises. Small octavo, original cloth. Signed by Ludgwig Mises on the half-title page. Fine in a near fine dust jacket. Rare and desirable signed by von Mises.
South Holland, Ill: Libertarian Press, 1952.
First edition of this early collection of essays by one of the most quoted economists of the twentieth century. Octavo, original cloth. Boldly signed by Ludwig Mises on the title page. Fine in a near fine dust jacket. Jacket design by Evelyn Vogel.
"Vogue has sometimes been called a civilizing force. If that is true, perhaps it is because a civilization, to endure, needs voices to sing its praise": The World in Vogue; inscribed to actress Vivien Leigh from Cecil Beaton
New York: The Viking Press, 1963.
First edition of this work on the groundbreaking publication Vogue. Quarto, original cloth, illustrated. Association copy, inscribed on the front free endpaper to actress Vivien Leigh from Cecil Beaton, “Merry Xmas, Vivien darling, with all my love always – Dec. 25/’63.” Near fine in a fine dust jacket with a few tears.
Portland, Maine: Chisholm Bros, c. 1890.
First edition. Contains 26 large panels of views in leporello (accordion-fold) format. Based on photographs, the views include: Birdseye view of Jacksonville (double-plate); 13 more views of Jacksonville, including St. James Hotel, Bay Street, Windsor Hotel, Palmetto Building, Everett House, Sub-tropical Exposition Buildings, Carleton House; 41 views of St. Augustine, including Hotel Ponce de Leon (court, dining room, parlor, casino, bathing pool, etc), Anastasia Island (triple-plate), St. Francis Street, San Marco Hotel, Charlotte Street, Old Slave Market, Magnolia House, Hotel Cordova, The Alcazar, Villa Zorayda, Fort Marion, St. George Street, tropical plants, etc.; Green Cove Springs, including Hotel Ormond, Thaddeus David’s Winter Residence, street views; Magnolia, including Magnolia Hotel and Landing, Welcome Gate, Wonder Gate, etc.; Palatka, including Hart’s Orange Grove, Putnam House, St. John River; Steamer and views on the Ocklawaha River; Pensacola; Tallahassee; Lake Monroe; Uncle Tom’s Cabin, and several other black stereotypes; Tampa, including New City Hall, Tampa Bay Hotel, etc.; Key West, including Front Street, Marine Hospital, Cuban Quarter, Fort Taylor, etc. Bound in decorative brown cloth, stamped in white, gilt, and blind, with floral bouquet and alligators on cover. Rare.
"In the sunny Adriatic sea, we came to rest and play and bathe ourselves": Signed Limited First Edition of George Bradley's Where the Blue Begins; Signed by Him and Abstract Expressionist Elaine de Kooning
New York : Sea Cliff Editions, 1985.
Signed limited first edition of American poet George Bradley’s Where the Blue Begins. One of only 120 numbered copies signed by George Bradley and abstract expressionist Elaine de Kooning. Quarto, original blue illustrated wrappers by Claire Maziarczyk. Original silkscreen frontispiece by Elaine de Kooning with loose rice paper tissue guard present. In fine condition. An excellent example.
London: Doves Bindery, 1906.
Quarto, bound in full green morocco, gilt titles and tooling to the spine, all edges gilt. With original caricature and artwork by architect Addison Mizner. Entries dated between 1906 and 1929 and about two-thirds of the leaves remaining blank. Mizner’s contributions include to the guestbook include three self-caricature sketches and also a watercolor, each signed by Mizner. Besides Mizner’s contributions, there are two other watercolors, one a cameo of a bucolic classical ruin, another, a dog looking out onto a panoramic view of pines and the coast, undoubtedly a view from a Farmholme prospect, or nearby, before it was overrun with suburban development. And there are several other fun drawings, including ones of a race car and of a plane. Mizner is credited with pioneering the Mediterranean and Spanish Colonial stucco architectural style in Southern Florida, and also Southern California and Beverly Hills. As virtually integral as this style has become to these places and elsewhere, before Mizner designed the Everglades Country Club’s clubhouse in Palm Beach in 1918, the prevailing style there was Victorian Queen Anne and Colonial Revival shingle homes such as one would have found in Northeastern resorts. Admiration for the Everglades clubhouse made Mizner the go-to architect for millionaires who competed against one another through the 1920s for the most impressive mansion in Palm Beach, formerly primarily a hotel resort, and his style was emulated by other architects hired to build less august developments. Among his legacy is the Boca Raton Resort & Club. Mizner, though, was not your typical nose-to-the-grindstone architect but also a highly colorful figure, famed as a raconteur, a co-author of the satiric “The Cynic’s Calendar of Revised Wisdom for 1903” and many sequels, and a bit of a scoundrel, who with his brother was implicated in some shady transactions relating to the Florida land boom of the 1920s, and this served as the basis for the Stephen Sondheim 2008 musical, “Road Show”. It is the social animal that Mizner was, someone who was able to exploit social connections, that should give this guest book a certain resonance to those fascinated by him and his career. Also, Mizner was a somewhat unconventionally trained architect. He didn’t go to a modern sort of architecture school, but apprenticed in an architectural office, and perhaps it was unorthodox training that later made him so much an original, and eccentric, architect, famous for glitches in his designs such as stairways that went nowhere. But he was regarded as a highly proficient draftsman and talented artist, abilities perhaps all too in short supply in the architectural profession, and here are examples of his quick dash art that provide some delightful corroboration of this reputation. Another guest at Farmholme was Ethel Watts Mumford (Grant), his co-author, who in one place contributed four lines of comic verse and a drawing of two monkeys. Other guests included Elisabeth Marbury, the prominent theatrical agent and lesbian lover of Elsie de Wolfe; Mary Livingston Hunt, of the Old Knickerbocker Livingstons; and many others who were undoubtedly secure in their Social Register bona fides — people with names such as de Forest, Alsop, Callander, Ogden, Hotchkiss. Whoever many of these people were, the same people came back again and again over the two decades, suggesting a close knit group of friends. While many of the entries are just autographs, sometimes accompanied by an anodyne sentiment, not a few are accompanied with a few lines of appreciative verse or snippets of musical notation. One guest, an Eduardo Bucco left several entries in Italian verse. The painter of the watercolor cameo signed in reverse — one needs a mirror to make out the name, which looks something like Raymond Tumball. As august as Farmholme must have been, based on its guests, bits and pieces hinted at in the text of entries, the painted view, the exquisiteness of the guest book itself, we were not able to discover anything definitive about the estate.