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Displayed below are some selected recent viaLibri matches for books published in 1936

        Mickey Mouse and Pluto and the Pup

      Racine: Whitman Publishing Co.,, 1936. Small quarto. Original illustrated printed boards, pictorial endpapers. With the dust jacket. illustrations throughout by the Walt Disney Studio. Mild toning to pages, faint stain to lower outer front corner page edges, corners and ends of spine mildly bumped in the dust jacket with a hint of wear to corners and ends of spine. An excellent copy. First edition, first printing.

      [Bookseller: Peter Harrington]
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        The English at Home

      London: B. T. Batsford Ltd,, 1936. Introduced by Raymond Mortimer. Quarto. Original laminated photographic boards, spine and front board lettered red, photographic endpapers. 63 plates. Front joint cracked at head and foot, text blocktight, tips a little worn, light scattered foxing to contents. A very good copy. First edition, first impression of this classic. This marvellous photographer's first book moving across social classes as well as between rural and urban milieus. "Mr. Brandt shows himself not only to be an artist but an anthropologist. He seems to have wandered about England with the detached curiosity of a man investigating the customs of some remote and unfamiliar tribe" (Raymond Mortimer, introduction). The majority of the photographs printed in this volume appeared here for the first time.

      [Bookseller: Peter Harrington]
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        As I Remember

      Large 8vo. New York: Reynal and Hitchock, 1936. Large 8vo, xiv, 290pp. With a frontispiece and 64pp. of photographs. Original cloth, dust-jacket, a very good copy. First edition, presentation copy inscribed to his friends Frank and Mabel Deering with a letter to them from Genthe giving them the book, and adding a paragraph in manuscript that got left out of the text. The photos are from all periods of his work, early San Francisco and the earthquake of 1906, Chinatown, New York socialites, film stars, dancers and beautiful women, nudes, etc.

      [Bookseller: John Windle Antiquarian Bookseller]
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      . (Untertitel ab Jg.7: Deutsche Blätter).Jg.6 - 10 in 58 (v.59) Heften.Moskau, Vlg.f.schöne Literatur 1936-1940, gr.8°, Or.-Umschläge.Je Heft ca.140 S., zahlr.Abb.Maas I, 309.Bis auf Jg.10, H.12 komplette Folge der interessantesten Jahrgänge dieser noch bis Ende 1945 erschienenen umfangreichsten Literaturzeitschrift des regelmäßigen Beitr.v.J.R.Becher.Enth.u.a.die Vorabdrucke v.Feuchtwangers 'Exil', H.Manns 'Vollendung d.Henri IV' u.Seghers 'Das 7.Kreuz' (nach 3 Heften abgebr.).Weitere Beitr.v.E.Arendt, Balazs, O.Baum, Bloch, Kl.Blum, Brecht, Bredel, Brod, Döblin, Rud.Fuchs, Gr.Gog, O.M.Graf, Herrmann-Neisse, W.Herzfelde, St.Heym, Holitscher, A.Kantorowicz, Kisch, Kläber, Th.Kramer, B.Lask, R.Leonhard, Lukacs, Kl.u.Th.Mann, Natonek, M.Osten, Ottwalt, Plivier, Regler, Renn, Scharrer, B.Viertel, H.Vogeler, H.Walden, Weinert, Weiskopf, Wolfenstein, J.Wüsten, Zech, Zinner, A.Zweig, St.Zweig u.a.Rücken meist leicht lädiert, Schnitt teils leicht stockig, insgesamt gutes Expl.(13 Hefte m.Bauchbinde)..

      [Bookseller: Antiquariaat Die Schmiede]
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        Under the Axe of Fascism

      New York: The Viking Press 1936 - 8vo., green cloth lettered in gilt; dust jacket, with minor edge-wear. First edition, first printing, signed by Salvemini on the half-title page. A work rarely found signed. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: North Star Rare Books & Manuscripts]
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        Applied Radiochemistry

      Ithaca: Cornell University Press, 1936. The George Fisher Baker Non-Resident Lectureship in Chemistry at Cornell University. Hardcover without jacket; few marks on boards. Edges and spine sides are a little worn; leading corners and spine ends are slightly bumped. Spine body is faded. A few minor marks on discoloured page block. Christ Church library plate on front pastedown; label on FEP; library stamps on copyright page and at one or two further points. Frontispiece is beginning to detach from binding, but remains intact. Minor marks on some pages within, never obscuring text. Evidence of slight liquid staining by binding on front abstract pages, cosmetic effect is minor. All text is clear. TS . hardcover. Good/No Dust Jacket. Ex-Library.

      [Bookseller: PsychoBabel & Skoob Books]
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        Absalom, Absalom

      Random House 1936 - A fine first edition in a very good dust jacket with some slight wear at top of spine. 1936 on title page. Comes with a loose page signed by Faulkner, from the Absalom signed limited edition. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookbid]
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      Collins Crime Club 1936 - First edition. Original orange cloth with thick black lettering. Author's presentation copy, inscribed "With love from Agatha" on the front endpaper. A near fine copy with a slightly faded spine. Inscribed for Geoff and Violet Shipston, close friends and the dedicatees of Three Act Tragedy. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Jonkers Rare Books]
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        The Trouble I've Seen.

      London: Putnam, 1936. First Edition. Octavo. Bound in green cloth, with titles in black to spine. Dust jacket, black with white stars and with red and white title details to cover and spine, with further titles published by Putnam to rear cover. With introduction by H. G. Wells.Binding is in fine order. The dust jacket is in good condition, colours bright, with some minor rubbing to front edge and top and tail of spine. The text is clean, and without signs of spotting. An attractive copy of an early work by one of the most significant war correspondants of the twentieth century, and who was married to Ernest Hemingway for the duration of World War II.

      [Bookseller: Adrian Harrington]
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        Collection complète des "Cahiers du Contadour" EDITION ORIGINALE

      Saint-Paul: Les cahiers du Contadour, 1936. Fine. Les cahiers du Contadour, Saint-Paul 1936-1939, 16,5x22cm, 8 fascicules brochés en 7 volumes. - Originale.Contributions Edition J. Giono, L. Jacques, C. Vildrac, R. Rolland, Alain, and pre-fine the French translation of Moby Dick H. Melville.Illustrations L. Jacques, A. Noll, H. Chenet, Kardas, E. Joe, Joey ... few bites, which target the guards some volumes, flat back and the first volume lightly and evenly past, a small spot ink on the front cover of the second volume, otherwise pleasant ensemble.Rare complete collection. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale. Contributions de J. Giono, L. Jacques, C. Vildrac, R. Rolland, Alain, et en pré-originale la traduction française de Moby Dick d'H. Melville. Illustrations de L. Jacques, A. Noll, H. Chenet, Kardas, E. Jos, Joset... Rares piqûres affectant essentiellement les gardes de certains volumes, dos et plats du premier volume légèrement et uniformément passés, une petite tache d'encre sur le premier plat du second volume, sinon agréable ensemble. Rare collection complète.

      [Bookseller: Librairie Le Feu Follet]
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        Adolf Hitler: Bilder aus dem Leben des Führers

      Hamburg: Herausgegeben von Cigaretten / Bilderdienst, (1936). Small tap to the bottom right corner, former owner's stamp, partially redacted, to the front end paper, else near fine in a near fine jacket with a few small edge tears. Remarkable survival.. First Edition. Quarto. Album featuring 188 black-and-white and 5 color mounted photographs of Adolf Hitler, among other well-known members of the Nazi Party, printed on cigarette cards. Created in tribute to the Hitler, with essays by Joseph Goebbels, Hermann Göring, and Rudolf Hess. Text in German.

      [Bookseller: Harper's Books, Inc.]
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        100% Money

      New York: Adelphi Company. (1936). Revised (probably second) edition. Octavo. 257pp. Blue cloth gilt. Very slight wear on the boards, else fine in bright near fine dustwrapper with small chips near the foot of the spine. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Gone with the Wind

      MacMillan, New York 1936 - A first edition copy, gray cloth with blue lettering. "Published May 1936" on copyright page. Spine ends softened, board edges lightly rubbed. Previous owner name to ffep else unmarked. First few pages softly creased. Bookseller sticker to rear endpage. The unclipped jacket in mylar has chipping to spine ends and back panel, hole mid spine, rubs/small hole to fold. First issue jacket with $3.00 price to flap and Gone With the Wind listed in the second column of the booklist on back panel. A very nice copy. ; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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      Milano, Edizioni Walt Disney - Mondadori, 1936. Cm. 26,5x17,3, mz. pelle moderna, conservata la bella brossura originale a colori di Rubino, pp. 80 in b.n. e a colori. Pubblica: ?"Le grandi tappe dell?'Impresa Africana - Le avventure di Topolino: Topolino pilota postale, Pluto e il Dottore pazzo, Grattacielo in costruzione, il Natale di Topolino - I dodici mesi illustrati - Le Grandi Avventure: Audax, il Corsaro Fantasma - Quattro storie inedite di Topolino: il giardino di Re Salomone, la poltrona di Carabella, l?'Indovina, Minnie la pattinatrice - Storie comiche a quadretti: Micina e il poliziotto Snip, Braccio di Ferro, le fantasie di Rico, la sentinella Lui - Topolino mago, Topolino pittore e costruttore, Topolino enigmista, Topolino ride. Varietò, giuochi, rompicapi, etc.?". Raro almanacco, completo dell?'inserto a colori a doppia pagina ?"Il dilettevole gioco di Paolino Paperino?". Leggermente rifilato, altrimenti molto ben conservato.

      [Bookseller: Libreria Malavasi sas]
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      Warszawie: M. Arct, 1936. Fine. M. Arct, Warszawie 1936, 18x25,5cm, broché. - First Edition. Rare autograph dedication of the author Josef Pankiewicz to (Moses) Kisling. Iconography. Three minor snags light head back, tiny marginal tears without loss in head first flat, otherwise nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale. Rare envoi de Josef Pankiewicz à (Moïse) Kisling. Iconographie. Trois légers accrocs sans gravité en tête du dos, infimes déchirures marginales sans manque en tête du premier plat, sinon agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Calls, Sounds and Merchandise of the Peking Street Peddlers

      The Camel Bell, Peking 1936 - (7 3/8 x 10 inches). xiv, 185pp. 62 full page lithographed illustrations (61 printed in colours), 16 mounted photographic illustrations, mounted paper cut out. Publisher's stitched patterned cloth binding, lettered paper label affixed to the upper cover. Housed in red cloth box. First edition of a rare illustrated work on Peking street vendors. "All the peddlars are not included as their number seems endless but the important and most common are described. They give an insight into the life, habits and psychology of the Chinese people which no other field reaches . This information about the street peddlars was originally prepared as partial requirement for the degree of Master of Arts at the College of Chinese Studies in Peking" (Introduction). Samuel Victor Constant was born in 1894. After serving in the U.S. military, he came to Beijing in 1923 and served as a military attache and later as a representative of the American Legation. At that time he pursued a degree from the California College of Chinese Studies in Peking, the present work being a published version of his master's thesis (the original of which survives at Occidental College Library, California). The peddlars are arranged within the work by season, with 54 types of peddlar described and illustrated with both colour plates, as well as mounted half-tone photographs. [Attributes: First Edition; Hard Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Negro Folk Songs As Sung By Lead Belly, "King of the Twelve-String Guitar Players of the World," Long-Time Convict in the Penitentiaries of Texas and Louisiana

      New York: Macmillan Company, 1936. First Edition. The second collaborative effort by John and Alan Lomax, less a study of Negro folk songs than the oral autobiography of Huddie William Ledbetter, known to his friends as "Lead Belly." While traveling the southern states recording folk songs for the Library of Congress, the Lomax's met Ledbetter - a double murderer - at the State Penitentiary in Angola, Louisiana. The convict was known for his skill with a guitar, and was kept as a trusty by the warden, frequently called on to play and sing for guests. Upon his release, Ledbetter went to work for John Lomax, assisting him with recordings and acting as his driver. Much of the narrative is told in Ledbetter's rich dialect, telling of his upbringing, life, women, his crimes, and his time spent in prisons. An extensive collection of blues and folk ballads is gathered, with frequent notes offered either by Lomax or Ledbetter. Lead Belly went on to have a career as a highly-regarded performer until his death in 1949. A collector's copy of a fragile book. First Printing. Small quarto (24cm); coarse-grained yellow cloth, with titles stamped in red on spine and front panel; black topstain; dustjacket; 242pp. Fine in a Near Fine dustjacket; publisher's rubber-stamped price of $3.50 at front flap fold; some light rubbing to extremities, foxing to rear flap fold, and two clear tape mends on verso - notably without loss and with the orange on the spine panel bright and unfaded.

      [Bookseller: Lorne Bair Rare Books]
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      Paris, Denoël et Steele, 1936, - in-4, pleine toile de lin éditeur, couvertures illustrées et dos conservés, 48 ff. non paginés. Edition originale illustrée de 30 photographies par l'auteur. Un des 112 exemplaires numérotés sur Hollande van Gelder (seul grand papier) enrichi d’un bel envoi calligramme de l’auteur. On joint :- un fragment d’épreuves (4 pp. ½) portant de nombreuses variantes et corrections autographes de l’auteur et des annotations de Lanza del Vasto ;- le brouillon autographe du prière d'insérer rédigé par l’auteur lui-même (2 ff. in-4)- une superbe photographie originale en tirage argentique (21 x 16,5 cm) annotée au verso par l’auteur avec un amical envoi.- le bulletin de souscriptionExemplaire exceptionnel. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Vignes]
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        Crusader Castles. I The Thesis; II The Letters

      London: The Golden Cockerel Press,, 1936. 2 volumes, quarto. Original red-brown half morocco by Sangorski & Sutcliffe, cream buckram boards, titles to spines gilt, raised bands, top edges gilt, others uncut. Titles printed in red, numerous plates, maps and charts throughout, 2 folding maps in linen-lined pocket loosely inserted at back. Spines faintly sunned, boards a little darkened and with a a few minor marks, endpapers lightly spotted. An excellent set. First edition, first impression, limited to 1,000 copies, this being no. 998. "The first of the Golden Cockerel volumes of Lawrence's 'literary remains' to be published after his death. Lawrence gathered much of the material for this work on a solitary walking trek in the Near East in the summer of 1909" (O'Brien). Volume I contains his resultant Oxford thesis of 1910; volume II contains letters to his family about military architecture accompanied by his drawings, together with photographs.

      [Bookseller: Peter Harrington]
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        Vie de Jésus EDITION ORIGINALE Tirage de tête ENVOI AUTOGRAPHE

      Paris: Flammarion, 1936. Fine. Flammarion, Paris 1936, 13x19cm, relié sous étui. - Original, one of 60 numbered copies on Japan Edition, leading copy. Bound in full black morocco, spine with four nerves, golden tail date on casters golden headdresses, gilt frame sevenfold on contreplats silk moiré lined with black morocco mint, mint silk guards, guards following paper effect moiré, gilt on cups, covers and spine preserved, gilt-head witnesses; bordered the same morocco felt inside rust, superb set of signed Semet & Plumelle case. Autograph signed by the author to the Countess Du Bourg Bozas. Bookplate pasted it on a guard. Very nice copy well established. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 60 exemplaires numérotés sur Japon, tirage de tête. Reliure en plein maroquin noir, dos à quatre nerfs, date dorée en queue, roulettes dorées sur les coiffes, encadrement de septuples filets dorés sur les contreplats de soie moirée menthe bordés de maroquin noir, gardes de soie menthe, gardes suivantes de papier à effet moiré, filets dorés sur les coupes, couvertures et dos conservés, tête dorée sur témoins; étui bordé du même maroquin à intérieur de feutrine rouille, superbe ensemble signé de Semet & Plumelle. Envoi autographe signé de François Mauriac à la comtesse Du Bourg de Bozas. Ex-libris de cette dernière encollé sur une garde. Très bel exemplaire parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        L'idylle Première version inédite Manuscrit autographe complet EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l. : S.n., 1936. Fine. S.n., s.l. S.d (1936), 20 pages in-8 (13,5x21cm). - First original and complete version of the manuscript, written in 1936. Manuscript writing very dense, with many erasures, corrections and additions. "The Idyll, Youth Maurice Blanchot text first published in 1947 and reissued in 1951 alongside the Last Word in a small volume entitled the eternal rehashing has often been described as" insoluble enigma "[...] the circumstances of writing and publication adds to the mystery: not only the first manuscripts were lost, but the experiences he testifies and the spirit that inspired its design remain elusive. » These findings Vivian Liska (in Blanchot, Herne Cahiers 107) following those of Christophe Bident (Maurice Blanchot, invisible partner), give these first two stories, the most reprinted works of Blanchot, a unique status in his work. If the Last Word is logically part of the Thomas the Obscure writing work (Either maturation or deconstruction), Idyll appears to have "no relation to the other fictions Blanchot, both past and future, "according to Michael Holland, researcher and professor of French literature at St Hugh's College, Oxford, author of several articles on Maurice Blanchot Before that say: Essays on Blanchot appeared in 2015 at Hermann. Enigmatic literary object, even in light of a work itself complex, Idyll, more than a new youth seems at once an "experiment unrelated or incompatible with the poetics" of work to come (V. Liska) and the birth of a writing of silence. And throughout his publications, Idyll questions to its author himself who in Aftermath sees ousting of his own creation and will eventually wear identification, warning from the introduction of the futility of the attempt. First is the question of the title of the news. "Idyll" title adopted for publication reviewed in 1947, is seen from the first volume edition in 1951, dominated by another title with two-news: The eternal rehashing. In 1983, it is in turn preceded by the title of the afterword: Aftermath. The question is asked by Blanchot himself in the afterword through the designation distanced (and suddenly enriched with a subtitle) of this "story that seems to have been named - is it ironically? - The "Idyll" and the torment of the happy idea. » But this title is just missing the manuscript (which was not the case of the Last Word - see our catalog Grand Palais 2014), which undoubtedly affects the status of the story and the editorial intent of the author. Of course, beyond the title, it's the same story that resists analysis, the critics, that of Blanchot also: "It is impossible for me to know [...] how they are written and how unknown requirements they had to meet. " The original manuscript appears as a crucial source of information to try to solve some of the puzzles of the text. It says the development of character names, the various stages of writing: striped phrases indicated by single quotation marks, superimposed variants ... we discover long unpublished passages deleted directly on the manuscript or intact until publication. We can analyze it changing authorial thought by increasing accuracy of the manuscript with corrections are dwindling in the pages to become increasingly close to the published version. But what strikes, like the manuscript of The Last Word is the presence in the original version of deeply meaningful elements whose removal will contribute to the creation of a voluntary aporetic work. Blanchot's writing proceeds by pruning. We know how many weight-loss program has been Thomas the Obscure to reach its final form. In the case of The Idyll, retrenchment is more meaning since, as Blanchot notes, "as narrative, which said, stating what he has to say [...] it is he who is the idyll ". Therefore, his substance should dwindle for its essential structure appears, says Michael Holland. The many passages of the manuscript removed in 1947 are not without fulfillment traces of a version, but the revelation of a field out of the final work. The outfield is largely constituted by the relationship between the manager and his wife, Louise, which is precisely the focus of the work. The past couple we thus revealed and interpreted by the various protagonists. The director: "thirty years I have experienced the most joy that can be reserved for a man (?). I almost died of suffocation ... " Louise: "[much crossed out] the young man called every night from the garden, she refused to go down ..." Piotl: "They themselves did not have children. The revenge the fate that deprived them of origin they take it by depriving any result. They triumph of evil that they do not deserve to be a damning new misfortune which they are responsible ... "(p. 7) The characters are also more vocal about the current situation of the couple: Page 5: "A strange party, Alexander Akim, we quarreled. [Long Reach crossed out] quarrels, do you hear that? Is that true? "Said the stranger, turning to the director. - "Yes, said the latter, of course. There is something inexplicable in anger; you are looking for the cause and it is invisible; we want to see the suites and they are without number. Fortunately, she can do nothing against true friendship. » This confession of "friendship" instead of love awaited by the director himself, is a first response to the questions of Akim, response inconsistent with the mystery dominating the printed versions. But the most significant manuscript passage is probably the one, central guardian describing his discovery of the couple, shortly after their marriage, both dead and alive. More extensive than the printed version, it is especially enriched with a capital revelation, redefining the very title of the work. Page 11: "I knew something terrible had happened. [...]. I thought they were dead, both. [...]. They were sitting apart from each other on bad chairs (?), Silent and foreign, to the point that anyone would have taken for vagrants. [...] They were absolutely out of the way, they did not care that you do not fall [...]. - That's it? Akim asked. But what you describe here is [...] the feeling that is the heart of any romance, true happiness without words. - Oh Really? said the supervisor, and you call it? I call it desperation [adjective follows in quotes appears to be "happy" but was scratched by Blanchot]. » The "happy despair": the paradox was a response in the narrative, the question of the true meaning of the idyll. This is at the cost of the removal of this "interpretation" and all the narrative elements that lead to it, Blanchot can turn the question posed in the story in question by the narrative. Because the manuscript reveals is that the story of Blanchot is not elliptical, structured by the absence of meaning, but willingly incomplete, prepared by successive withdrawals of the signifier. In this obvious deterioration of the internal sense to the story, we discover also that of the symbolic link between the elements of the story. Thus, the throttle Akim by another inmate, had in the original story a disturbing echo in the relationship of the director and his wife: "She wants him to live with this hand to the throat that the clamp enough to to death. "(P. 7) Other elements of pathos, deleted publication reinforce the parallel between the silent tragedy of the couple and the detainees: "I spit in your face"; "The whip was soft and sharp steel instrument under which penetrated the flesh and by withdrawing the tearing. . "Unlike the complicity of the couple beyond misunderstanding resonates very Blanchot in a fully deleted information. It reveals a literary complicity between overseas and a supervisor "totally unaware" that "surprised Akim busy reading a little book that he always carried himself and was written in the language of his country." Among the most serious questions to which he is confronted in Aftermath, Blanchot particular emphasis on the relationship of the prophetic Idyll to history. "Wash yourself; Here we focus on hygiene. [...] He sat down and, while the water began to fall in the smoke and noise, he was seized with nausea and lost consciousness. "The episode of the shower, which opens the story almost induces a post-round concentration reading in turn assumed and rejected by Blanchot. Reading the manuscript and its variation with the printed text, if it does not resolve the issue, the yet redirects: "Here we are concerned with hygiene" proves to be originally, "everyone here is clean"; "He was seized with nausea and lost consciousness" was "he was dizzy that lifted his heart and made him lose consciousness." There is no correction in the manuscript, the change is contemporary with the publication and not the writing. On purely literary terms, the figure of the foreigner returns, always in anticipation to that famous Camus (which Blanchot also be the first defender): "The theme that I recognize first because Camus make the familiar is designated the first words: 'stranger'. " The manuscript here only confirms the immediate importance of the designation of the character. Michael Holland particularly emphasizes these elements that disrupt the dating of the original text: "The Idyll, while motioning towards a past (1936) is being separated and thus disoriented in relation to it, marks the emergence of a narrative in Blanchot space quite original in which disaster looming in 1936 to become final in 1940 in the fictional narrative not a mirror but a speech which by its very impossibility, is the measure of what the disaster means. » Blanchot's insistence to reject the new in the distant past, pre-apocalyptic, with the first issue in 1947, leaves no surprise. He did the same in his dedications, specifying the untimeliness of these stories: "Unfortunately these ancient pages," he wrote on the two copies of the eternal rehashing he addressed to his brother and sister, as well as his sister and his mother (see our catalog March 2015) - also note the very mysterious "alas". But it was in 1983 in Aftermath, qu'insistant still long on this seniority "these old stories, so old (fifty years)"; Blanchot offers a disturbing put into perspective this emphasis: "before Auschwitz story. At some time it may be writing any story now will be before Auschwitz. » Thus, the evocation of the camps in a new Can only be prophetic because "there can be no Auschwitz-fiction story." Therefore, what better way to escape the impossibility of writing before history? Which can not be said can also be predicted. It is tempting to look in the same story of the Idyll track of this approach in the past of this impossible. The transition to the bookseller is troubling in this regard; it offers Akim, "an ancient book that traced the history of the whole region." Akim, who would have preferred a "most recent" work, however, derives "from reading more profit he had hoped for." If the "Books" in the final version we add to this that the first visit was in the manuscript, "an old book store" and that in the passage of the loan from rare book, Blanchot deleted version published "because [the book] seemed interested in a time long past," the assumption of a fictitious dating from the author makes sense. If true, this deception of course bring a completely new light on this new and the entire work of Blanchot. However, it does not seem that the manuscript could, if not by the little details, be dated after the war. The manuscript is in large part by its size, paper quality and the writing density Blanchot, the manuscript of The Last Word we proposed in a previous catalog (or the Last Word seems to be dated with certainty). On the other hand, it is not dated, or if the date - 1936 - was a fiction element, it is likely that the Maurice Blanchot was affixed at the manuscript. A thorough study of these documents, Blanchot's writing and paper, but would definitely answer this question participating in the mystery of the most enigmatic writing of Maurice Blanchot. - [FRENCH VERSION FOLLOWS] Première version inédite et complète du manuscrit autographe, rédigé en 1936. Manuscrit à l'écriture très dense, comportant de nombreuses ratures, corrections et ajouts. « L'Idylle, texte de jeunesse de Maurice Blanchot publié pour la première fois en 1947 et réédité en 1951 aux côtés du Dernier Mot dans un petit volume intitulé le Ressassement éternel a souvent été qualifié d'"énigme insoluble" [...] les circonstances de sa rédaction et de sa publication ajoutent à son mystère : non seulement les premiers manuscrits ont été égarés, mais les expériences dont il témoigne et l'esprit qui a présidé à sa conception restent difficiles à cerner. » Ces constatations de Vivian Liska (in Blanchot, Cahiers de l'Herne 107) à la suite de celles de Christophe Bident (Maurice Blanchot, partenaire invisible), confèrent à ces deux premiers récits, les plus réédités des œuvres de Blanchot, un statut unique dans son œuvre. Si le Dernier Mot s'inscrit plus logiquement dans le travail d'écriture de Thomas l'Obscur (qu'il en soit une maturation ou une déconstruction), L'Idylle semble n'avoir « aucun rapport avec les autres fictions de Blanchot, tant passées que futures » d'après Michael Holland, chercheur et professeur de littérature française au St Hugh's College à Oxford, auteur de plusieurs articles sur Maurice Blanchot dont Avant dire : Essais sur Blanchot paru en 2015 chez Hermann. Objet littéraire énigmatique, même au regard d'une œuvre elle-même complexe, L'Idylle, bien plus qu'une nouvelle de jeunesse, semble tout à la fois une « expérimentation sans lien, voire incompatible, avec la poétique » de l'œuvre à venir (V. Liska) et la naissance d'une écriture du silence.   Ainsi au fil de ses parutions, L'Idylle interroge jusqu'à son auteur-même qui dans Après-coup se voit évincer de sa propre création et s'épuise à la cerner, tout en avertissant dès l'introduction de l'inanité de sa tentative.   En premier lieu se pose la question du titre même de la nouvelle. « L'Idylle », titre adopté pour la publication en revue en 1947, se voit, dès la première édition en volume en 1951, dominé par un autre titre regroupant les deux nouvelles : Le Ressassement éternel. En 1983, celui-ci se trouve à son tour précédé du titre de la postface : Après-coup. La question est posée par Blanchot lui-même dans cette postface à travers la désignation distanciée (et soudain enrichie d'un sous-titre) de ce « récit qui semble avoir été nommé - est-ce par antiphrase ? - l'"Idylle" ou le tourment de l'idée heureuse. » Or ce titre est justement absent du manuscrit (ce n'était pas le cas du Dernier Mot - cf. notre catalogue Grand Palais 2014), ce qui, incontestablement, influe sur le statut du récit et l'intention éditoriale de l'auteur. Bien entendu, au-delà du titre, c'est le récit même qui résiste à l'analyse, celle des critiques, celle de Blanchot également : « il m'est impossible de savoir [...] comment ils se sont écrits et à quelle exigence inconnue ils ont dû répondre ». Le manuscrit originel apparaît alors comme une source d'information capitale pour tenter de résoudre quelques-unes des énigmes du texte. On y lit l'élaboration des noms de personnages, les différentes étapes de l'écriture : phrases rayées, signalées par des guillemets simples, variantes superposées... on y découvre de longs passages inédits, supprimés directement sur le manuscrit ou intacts jusqu'à la publication. On peut y analyser l'évolution de la pensée auctoriale par la précision grandissante du manuscrit dont les corrections s'amenuisent au fil des pages pour devenir de plus en plus proche de la version publiée. Mais ce qui frappe, à l'instar du manuscrit du Dernier Mot, c'est la présence dans cette version originale d'éléments profondément signifiants dont la suppression contribuera à la constitution d'une œuvre volontairement aporétique.   L'écriture de Blanchot procède par élagage. On sait combien de cures d'amaigrissement a subi Thomas l'Obscur pour arriver à sa forme dernière. Dans le cas de L'Idylle, le retranchement est plus signifiant encore puisque comme le note Blanchot : « en tant que récit, qui dit en s'énonçant tout ce qu'il a à dire [...] c'est lui qui serait l'idylle ». Par conséquent, sa substance doit s'amenuiser pour que sa structure essentielle apparaisse, précise Michael Holland. Les nombreux passages du manuscrit supprimés en 1947 ne sont donc pas les traces d'une version inaboutie, mais la révélation d'un hors champs de l'œuvre définitive. Ce hors-champ est en grande partie constitué par la relation entre le directeur et sa femme, Louise, qui est justement le point focal de l'œuvre. Le passé du couple nous est ainsi révélé et interprété par les différents protagonistes. Le directeur : « à trente ans j'ai connu la joie la plus ( ?) qui puisse être réservée à un homme. J'ai cru mourir d'étouffement... » Louise : « [une grande partie raturée] le jeune homme l'appelait tous les soirs depuis le jardin, elle refusait de descendre...  » Piotl : « Eux-mêmes n'ont pas d'enfant. La revanche sur le sort qui les a privés d'origine  ils la prennent en se privant de toute suite. Ils triomphent du malheur qu'ils n'ont pas mérité en s'accablant d'un nouveau malheur dont ils sont responsables... » (p. 7) Les personnages sont également plus loquaces sur la situation actuelle du couple : Page 5 : « Une étrange fête, Alexandre Akim, nous nous sommes querellés. [Long passage raturé] Querellés, entendez-vous cela ? » - « Est-ce vrai ? » dit l'étranger en se tournant vers le directeur. - « Mais oui, dit celui-ci, naturellement. Il y a quelque chose d'inexplicable dans la colère ; vous en cherchez la cause et elle est invisible ; on veut en voir les suites et elles sont sans nombre. Heureusement, elle ne peut rien contre la véritable amitié. » Cet aveu d'« amitié » au lieu de l'amour attendu, par le directeur lui-même, constitue une première réponse aux interrogations d'Akim, réponse incompatible avec le mystère dominant la version imprimé. Mais le passage le plus signifiant du manuscrit est sans doute celui, central, du gardien relatant sa découverte du couple, peu après leur mariage, à la fois mort et vivant. Plus étoffé que la version imprimé, il est surtout enrichi d'une révélation capitale, redéfinissant le titre même de l'œuvre. Page 11 : « Je savais que quelque chose d'horrible s'était passé. [...]. Je croyais qu'ils étaient morts, tous les deux. [...]. Ils étaient assis à l'écart l'un de l'autre, sur des mauvaises chaises ( ?), silencieux et étrangers, au point que n'importe qui les aurait pris pour des vagabonds. [...] ils étaient absolument à l'écart, ils ne se souciaient que de ne pas tomber [...]. - C'est tout ? demanda Akim. Mais ce que vous décrivez là c'est [...] le sentiment qui est au cœur de toute idylle, un véritable bonheur sans parole. - Vraiment ? dit le surveillant, vous l'appelez ainsi ? Moi je l'appelle le désespoir [suit un adjectif entre guillemet qui semble être « heureux » mais qui a été rayé par Blanchot]. » Le « désespoir heureux » : ce paradoxe constituait une réponse, dans le récit, à la question du vrai sens de l'Idylle. Ce n'est qu'au prix de la suppression de cette « interprétation » et de tous les éléments narratifs qui y conduisent, que Blanchot peut transformer la question posée dans le récit en question posée par le récit.   Car ce que le manuscrit nous révèle, c'est que le récit de Blanchot n'est pas elliptique, structuré par l'absence de sens, mais volontairement lacunaire, élaboré par retraits successifs du signifiant.   Dans cette dégradation manifeste du sens interne au récit, on découvre également celle du lien symbolique entre les éléments de l'histoire. Ainsi, l'étranglement d'Akim par un autre détenu, avait dans le récit initial un écho troublant dans la relation du directeur et de sa femme : « Elle veut qu'il vive avec cette main à la gorge qui le serre assez pour le faire mourir. » (p. 7) D'autres éléments de pathos, supprimés à la publication viennent renforcer le parallèle entre la tragédie silencieuse du couple et celle des détenus : « je te crache à la figure » ; « Le fouet était un instrument d'acier souple et tranchant qui pénétrait sous la chair et en se retirant l'arrachait. ». A l'inverse la complicité du couple au-delà de l'incompréhension trouve un écho, très blanchotien, dans un passage entièrement supprimé. On y découvre une connivence littéraire entre l'étranger et un surveillant « totalement ignorant » qui « surprit Akim occupé à lire un petit livre que celui-ci portait toujours sur soi et qui était écrit dans la langue de son pays ».   Parmi les interrogations les plus fortes auxquelles il se trouve confronté dans Après-coup, Blanchot insiste particulièrement sur celle de la relation prophétique de L'Idylle à l'Histoire. « Lavez-vous bien ; ici nous nous intéressons à l'hygiène.  [...] Il s'assit par terre et, tandis que l'eau se mettait à tomber dans la fumée et le bruit, il fut pris de nausée et perdit connaissance. » L'épisode de la douche, qui ouvre presque le récit, induit une lecture post-concentrationnaire tour à tour assumée et rejetée par Blanchot. La lecture du manuscrit et de ses variations avec le texte imprimé, si elle ne résout pas cette question, la réoriente pourtant : « ici nous nous intéressons à l'hygiène » se révèle être originellement : « ici tout le monde doit être propre » ; « il fut pris de nausée et perdit connaissance » était : « il fut pris d'un vertige qui lui souleva le cœur et lui fit perdre connaissance ». Il n'y a aucune correction dans le manuscrit, la modification est donc contemporaine de la publication et non de la rédaction. Sur le plan purement littéraire, la figure de l'étranger renvoie, toujours par anticipation, à celle célèbre de Camus (dont d'ailleurs Blanchot sera le premier défenseur) : « Le thème que je reconnais d'abord parce que Camus le rendra familier, est désigné dès les premiers mots : "l'étranger" ». Le manuscrit, ici, ne fait que confirmer l'importance immédiate de cette désignation du personnage. Michael Holland souligne particulièrement ces éléments qui perturbent la datation du texte originel : « L'Idylle, tout en faisant signe vers un passé (1936) s'en trouve séparé et de ce fait, désorienté par rapport à lui, marque l'irruption chez Blanchot d'un espace de narration tout à fait original, dans lequel le désastre qui s'annonce en 1936 pour devenir définitif à partir de 1940 trouve dans le récit de fiction non pas un miroir mais un discours qui, par son impossibilité même, prend la mesure de ce que le désastre signifie. » L'insistance de Blanchot à rejeter sa nouvelle dans un lointain passé, pré-apocalyptique, dès la première parution en 1947, ne laisse pas d'étonner. Il fait de même dans ses dédicaces, précisant l'inactualité de ces récits : « ces pages hélas très anciennes » écrit-il sur les deux exemplaires du Ressassement éternel qu'il adresse à son frère et sa belle-sœur, ainsi qu'à sa sœur et à sa mère (voir notre catalogue de mars 2015) - notons par ailleurs le très énigmatique « hélas ». Mais c'est en 1983, dans Après-coup, qu'insistant encore longuement sur cette ancienneté « ces deux récits anciens, si anciens (une cinquantaine d'année) » ; Blanchot offre une troublante mise en perspective de cette insistance : « récit d'avant Auschwitz. A quelque date qu'il puisse être écrit, tout récit désormais sera d'avant Auschwitz. » Ainsi, l'évocation des camps dans une nouvelle ne peut-elle être que prophétique car : « il ne peut y avoir de récit-fiction d'Auschwitz ». Dès lors, quelle meilleure façon de se soustraire à cette impossibilité que d'écrire avant l'Histoire ? Ce qui ne peut plus être dit peut encore être prédit. Il est tentant de chercher dans le récit même de l'Idylle la trace de cette approche par le passé du présent impossible. Le passage chez le libraire est à cet égard troublant ; celui-ci propose à Akim, « un livre très ancien qui retraçait l'histoire de toute la contrée ». Akim, qui aurait souhaité un ouvrage « plus récent », tire cependant  « de sa lecture plus de profit qu'il n'en avait espéré ». Si l'on ajoute à cela que dès la première visite le « libraire » de la version finale est, dans le manuscrit, « une boutique de livres anciens » et que dans le passage du prêt du livre rare, Blanchot a supprimé de la version publiée : « car [le livre] semblait s'intéresser à une époque depuis longtemps révolue », l'hypothèse d'une datation fictive de la part de l'auteur prend tout son sens.   Si elle était avérée, cette supercherie apporterait bien entendu un éclairage totalement neuf sur cette nouvelle et sur l'œuvre entière de Blanchot.   Cependant, il ne nous paraît pas que le manuscrit puisse, sinon par ces petits détails, être daté d'après la guerre. Le manuscrit correspond en grande partie, par son format, la qualité du papier et la densité d'écriture de Blanchot, au manuscrit du Dernier Mot que nous proposions sur un catalogue précédent (or le Dernier Mot semble être daté avec certitude). D'autre part, il n'est pas daté, or si la date - 1936 - était un élément de fiction, il est probable que Maurice Blanchot l'eut apposée dès le manuscrit. Une étude approfondie de ces documents, de l'écriture de Blanchot et du papier, permettrait toutefois de répondre définitivement à cette question qui participe au mystère du plus énigmatique écrit de Maurice Blanchot.

      [Bookseller: Librairie Le Feu Follet]
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        Merlusse - Cigalon EDITION ORIGINALE Tirage de tête ENVOI AUTOGRAPHE

      Paris: Fasquelle, 1936. Fine. Fasquelle, Paris 1936, 15x20,5cm, broché. - First edition, one of 25 numbered copies on Japan, leading copies. Signed autograph of the author, dated 1971, with a couple of his friends: "... For Josy and André Bernard Merlusse that it had a great success," Cigalon "comic film that does laugh than me ... " Back and slightly flat and marginally passed as usually, if not enjoyable copy with all margins. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 25 exemplaires numérotés sur Japon, tirage de tête. Envoi autographe signé de Marcel Pagnol, daté de 1971, à un couple de ses amis : "... Pour Josy et André Bernard ce Merlusse qui eût un très grand succès, et "Cigalon", film comique qui n'a fait rire que moi..." Dos et plats légèrement et marginalement passés comme généralement, sinon agréable exemplaire à toutes marges.

      [Bookseller: Librairie Le Feu Follet]
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        12 mesi nel ticino

      . Servizio di pubblicita delle ferrovie federali svizzere, Lugano, 1936. 2 Blatt/12 Tafeln im Holzschnitt sowie ein Vorwort von Giuseppe Foglia. - Mit einer original Widmung von Aldo Patocchi an Ugo Ojetti (19)36/gutes Exemplar/Aldo Patocchi, *22.07.1907 Basilea - 4.9.1989, Lugano. SIKART, Lexikon zur Kunst in der Schweiz/E un edizione d'arte ap, stampata coi torchi della tipografia luganese, lugano nella primavera del 1936 per inziativa delle ferrovie federali svizzere in berna e limitata a seicento esemplari numerati e firmati a mano dall'autore esemplare No. 24/von A.Patocchi signiert -

      [Bookseller: Celler Versandantiquariat, Einzelunterne]
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      Kelly & Walsh, Ltd., Shanghai, China. 1936 - Kelly & Walsh, Ltd. Shanghai. 1936. 1st edition. 12mo. 7 ½". [8] +76 pp. Plates from photographs by C.H. Wong; 5 folding maps; map endpapers. Pictorial boards. Near fine. Rare. The legendary and beautiful city near the banks of the Yangtze River. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bjarne Tokerud Bookseller ABAC/ILAB/PBFA]
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        A Cuckoo in Kenya. The Reminiscences of a Pioneer Police Officer in British East Africa

      London Hutchinson 1936. G : in Good condition without dust jacket. Some rubbing to upper board. Light spotting to page ends. Publisher's compliment stamp on title page and discrete stamp stating 'The James Humphreys Collection' on verso. Contents tight and G+ First Edition Green/gilt hardback cloth cover 240mm x 160mm (9" x 6"). 360pp +24pp adverts. Numerous b/w photographs and end paper maps.

      [Bookseller: Barter Books]
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      Tunis: Éditions de Mirages. Excellent condition. One of 380 numbered copies on alfa. Inscribed and signed by Henri de Montherlant !!. Tunis, Éditions de Mirages, 1936. 8°. 49 pages. Hardcover. Beautiful modern binding by Denis Gouey in black calf with a raging bull ! Excellent condition. One of 380 numbered copies on alfa. Inscribed and signed by Henri de Montherlant !!

      [Bookseller: The Time Traveller's Bookshop]
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        Etude des bronzes des Royaumes Combattants; A Survey of Bronzes from the Warring States Period

      The Academy of Oriental culture. Kyoto Institute, 1936, Cloth, Book Condition: Very Good, Presumed First EditionSize: 4to - over 9¾" - 12" tall, This book is written in Japanese, not in English. It does include a title page, table of contents and summary text in French. Printed and bound in Japan. Charcoal-colored silk [?] binding with crisp gilt-stamped Japanese characters to the spine. Some rubbing but overall a fairly clean binding. 12 x 9.5 inches. Gently bumped spine tail and lower corners. Text block firmly bound in. With 36 monochrome figures and CXXVI monochrome plates accompanied by detailed notes. The plates on medium-weight, semi-stiff matte stock. No remainder marks. Tiny sticker from previous bookseller neatly pasted to the pastedown. Else a very clean copy, and still rather tight. Gently read. A Very Good copy. All in all a desirable copy of an extremely scarce work featuring bronzes dating from The Warring States Period of China, about 425 to 271 BC.

      [Bookseller: The Book Carrel]
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        Press of the Woolly Whale] TREASURE IN THE FOREST

      New York: Press of the Woolly Whale, 1936. First Edition Thus, limited to 130 copies.. Hard Cover. Octavo. Mwano Masassi and W. A. Dwiggins. [4], 30, [4]. Bound as issued in paper over boards with decoration by Masassi; 6 pochoir in-text illustrations in addition to engraved head- and tail-piece and several alternating decorative headers on each page opening; text is handset in Caslon and printed in black; signatures of collaborators under the colophon include Masassi, Dwiggins, Cary, and others. Light shelfwear, only; contents clean and binding sound. An amazing production accompanied by the bifolium prospectus/order form and TLS on Woolly Whale letterhead by the Press's founder, Melbert B. Cary, Jr. to printer Eugene M. Ettenberg warmly offering the book as a gift. This copy also bears the bookplate of Larry McMurtry on the front pastedown. Currey, 525. Signed by collaborators.

      [Bookseller: Michael Pyron, Bookseller]
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      Dallas, Texas: Dealey and Lowe, 1936. One minor area of chipping at very base of jacket spine, otherwise fine. INSCRIBED, SIGNED, AND DATED ON FRONT FREE ENDPAPER. "I didn't aim to write a Texas Centennial book, but this got wrote. The facts may be short, but I'll take my stand on the principle of flavor, Frank Dobie, Austin, Texas, 3/28/40" Nine full-page black and white illustrations by Alexandre Hogue. A series of stories of Texas history, folklore, Indians. Chapters on Bigfoot Wallace, Cynthia Ann Parker and others. See Cook 16. Jeff Dykes in "My Dobie Collection" noted that this is apparently the only Dobie title never to have been reprinted (Dykes 11). A rare Dobie title, in superb condition, with a lengthy inscription by the author. See also Herd 691 and Six-Guns 602. 287pp.. Signed by Author. First Edition. Tan and Orange Cloth.. Fine/Nearly Fine. Octavo.

      [Bookseller: Glenn Books]
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      Milano, Edizioni Walt Disney / Mondadori, 1936 Cm. 23,5 x 32,5, brossura originale a colori, spillato, pp. 20/22, virate in giallo. Serie completa delle avventure dell?'ispettore Wade, nn. 1 e 2 negli albi del Cerchio Verde. Lievi fioriture e strappetti alle copertine; fioriture e lievi aloni nel t., ma complessivamente in buono stato.

      [Bookseller: Libreria Malavasi sas]
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      - Valentín Pacuet Morral. 6 documentos, manuscritos y tambien mecanografiados de la Guerra Civil Española. 3 h de servicios de casa, 1 declaración jurada, 1 condecoración de 3 medallas y otra declaración expresada. Muy raros ejemplares. Ref A 33 Biblioteca Pics. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Libreria Anticuaria Marc & Antiques]
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        The Paradise of Fools

      London: Hodder and Stoughton,, 1936. Being an Account by a Member of the Party, of the Expedition which covered 6,300 miles of the Libyan Desert by Motor-car in 1935. Octavo. Original blue cloth, title gilt to the spine, scorpion device gilt to the upper board. With the striking pictorial dust jacket. Frontispiece and 22 other plates, folding coloured map at the rear. A little chafed head and tail of the spine, corners a touch bumped, free endpapers differentially browned, minor production flaw at the head of the rear hinge, else very good in slightly rubbed jacket, foxed on the flaps, with some slightly amateurish restoration at the head of the spine, but pictorially and textually complete. First edition. Lively, and uncommon account of an expedition described in Fliegel Jezerniczky's on-line Libyan Desert bibliography as "an extraordinary journey", in which a party led by Mason and W.B. Kennedy Shaw traversed "virtually all major parts of the Libyan desert. They started from Kharga, reaching the Gilf Kebir via Abu Ballas, making the first crossing of the dune belt in the 'Gap' to enter Wadi Hamra, discovering two major wadis transversing the southern Gilf (and locating a cave with rock paintings on the col between them), then continuing via Selima and Erdi to El Fasher (where they met Almásy and party). On the northbound leg they traversed the southern Libyan Desert, continuing to Uweinat, passing the western side of the Gilf, then traversing the Great Sand Sea to reach Siwa". The cave at Mogharet el Kantara containing the paintings of cattle and a homestead scene, the only known site containing rock art in the Southern eastern portion of the Gilf Kebir, is now known as Shaw's Cave. During the Second World War Shaw went on to become a founder member of the Long Range Desert Group, whose scorpion badge was very similar to that used here on the upper board; Mason, who had previously spent time fur-trapping in Canada, and sparring with Jack Sharkey, was recruited to Naval Intelligence by Ian Fleming, lending a number of characteristics - physical and temperamental - and terrific tales to the composite who became James Bond. Shaw published his findings in the Geographical Journal ("An Expedition in the Southern Lybian Desert", volume 87, 1936) and Antiquity ("Rock Paintings in the Lybian Desert", volume 10, 1936). Bookplate of Charles Edward Rusbridge, who served in Libya with the RAOC during World War II, to the front pastedown.

      [Bookseller: Peter Harrington]
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        Archive including three relics, including a portable shaving kit, recovered from the 1937 fiery crash of the German Airship ?Hindenburg,? postmarked ?Hindenburg? picture postcard bearing letter penned aboard the airship, and a pictorial Nazi ?Zeppelin? luggage label

      n.p., 1936-1937. "Comprises:(1) Gentleman?s collapsible travel razor in metal case, 2? x 1.25? x 0.75?. Charred. Recovered from the May 6, 1937, ?Hindenburg? crash site by a Lakehurst firefighter according to Bonham?s.(2) Set of spare razor blades in metal case, 2? x 1? x 0.25?. Charred. Recovered from the May 6, 1937, ?Hindenburg? crash site by a Lakehurst firefighter according to Bonham?s.(3) Remnant of a die, possibly Bakelite, from a pair of dice, heavily chipped. Six dot side, most of two dot side and half of three, four and five dot sides present; with separate remnant of one dot side. Recovered from the May 6, 1937, ?Hindenburg? crash site by a Lakehurst firefighter according to Bonham?s.(4) Picture postcard, 5.5? x 3.5?, photograph of the ?Hindenburg? dining room, captioned on verso ?Original-Airpostcard / Purchased on Board LS ?Hindenburg.?? Mailed to Mr. Julius Amberg, Grand Rapids, Michigan, two German airmail postage stamps picturing a swastika and an eagle, and a third stamp depicting an airship, postmarked aboard the Hindenburg, June 25, 1936. Letter handwritten aboard the ?Hindenburg? in flight dated June 21, 1936. In full, ?A remarkable crossing. Very spacious public rooms & staterooms. Two floors of passenger accommodations. Perfect weather, no vibration & steady as a rock. Now flying about 1000 ft above the water. Go over Ireland tonight. Regards.? Pinholes in upper two corners. Fine condition.(5) Unused gummed color luggage label, 4? x 7?, with images of an airship over a ship sailing on the ocean, imprinted in German ?The Zeppelin Over the Ocean / German Zeppelin Shipping Company? with spaces to fill in ?Name,? ?Destination,? ?Departure,? and ?Bed Number.? The airship displays Nazi flags on its upper and lower rudders."

      [Bookseller: University Archives]
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        VIEWS OF MY HOME AND GARDEN/WINTER-SPRING-SUMMER-FALL/ Christmas Greetings And Best Wishes For The New Year

      Shidzuoka, Japan: Walter H. Siegfried: , 1936. Shidzuoka, Japan: Walter H. Siegfried 1936. A very lovely and large photo album of a garden and domestic pleasures at an Westerner's residence at Sidzuoka, Japan, before the war, printed as a Christmas and New Year's greeting to friends. The gardens, obviously a work of great love for Siegfried and his companion, J.S., who appears in two of the photographs, are an unusual mix of Japanese and American stylistic elements. In the colour reproductions of these hand-colored photographs measuring 20.6 x 29 cm, we see the garden in all seasons against a backdrop of traditional Japanese architecture. In winter, which featured "the heaviest snow in history," traditional Japanese garden ornament and structure mixes with a variety of snow laden trees and shrubs, many clearly characteristic of Japanese gardens. Come spring, cherry blossoms, staging of plants (azaleas and roses) under bamboo shading and a large display of white and purple wisteria across the home's facade and across a pergoloa let us know where we are, but a very Western looking cutting garden of roses, daisies and orchids also appears. In June, an equally Western looking border planting of iris and amaryllis shows up. There are pond and waterfall scenes in June and a view of lily of the valley, orchids, roses and azaleas in the hot house. The hot house,itself, is most interesting with alternating shelves of tropical fish and tiger lily pots. Siegfried's obviously well -loved dogs start appearing among gardenia and hydrangea plantings and there is a shot of W.H.S. and J.S. seated on a Japanese style bridge over a pond with their dogs. In the aviary are golden pheasant, doves, parrakeets and love birds, as well as mandarin ducks in the duck house. Toward the end of the album, the dogs, especially the miniature schnauzers fill several pages, most notably in a show win shot ( Westminster Kennel and Morris and Essex Kennel back in the U.S). Final shots include views of a water lily pond, a monkey slipper tree and maples in color, along with a view of the large water fountain in front of the residence bordered by full masted Japanese and American flags flying on Labor Day. Despite continuing search efforts, Walter H. Siegfried remains elusive. The dual national flags may or may not suggest a diplomatic function.Oblong album bound Japanese style, 26 x 36.5 cm., title page printed in green, red, and gold + 44 full page plates of hand colored photographs printed on rectos only. Original maroon silk cloth, just rubbed at corners, cream silk ties; very well preserved.

      [Bookseller: Hinck & Wall]
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      An oblong portfolio of 27 striking color printed plates measuring 25.2 x 38 centimeters, with each plate portraying 2 peonies (each flower approximately 11 x 12 centimeters). A brief text on the culture of Japanese tree peonies accompanies the plates, and there is an overslip with letterpress describing each flower. Niigata was a center for peonie cultivation and this book was undoubtedly issued to promote export trade to the west.Oblong 4to, stabbed and tied (25.2 x 38 cm); (ii) + (ii) + 2 + (ii) pp. + 27 color plates with accompanying letterpress on overslips. Original printed cloth, stabbed and tied, boards slightly bumped and worn at corners; some splitting of cloth along spine edges; plates clean and bright. A very good copy.

      [Bookseller: Hinck & Wall]
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        Margaret Mitchell writes to a New England bookseller, explaining the origin of her novel, Gone With the Wind, and commenting on its reception outside of the South: "Especially I was interested in your reactions as a New Englander. I did not wish to write a bitter or biased book. I hope it did not sound that way for I hate 'professional Southerners' almost as much as Northerners do. I tried to let the facts stand on their own feet."

      Atlanta, Georgia, June 5, 1936. 7" x 7.75". "Typed Letter Signed, ""Margaret Mitchell,"" 1 page, 7"" x 7.75"", Atlanta, Georgia, June 5, 1936, to Robert Saltmarsh, a New Bedford, Massachusetts bookseller who had sent her warm praise after reading an advance copy of Gone With the Wind. Usual folds, light toning, else very good to fine condition. Mitchell's letter reads in full: ""Your kind letter gave me so much pleasure that I had to write to you just as soon as I finished reading it. I appreciated, more than I can ever tell you, all your nice remarks. Especially I was interested in your reactions as a New Englander. I did not wish to write a bitter or biased book. I hope it did not sound that way for I hate 'professional Southerners' almost as much as Northerners do. I tried to let the facts stand on their own feet without either reviling or sentimentalizing and I thank you for saying you thought it a fair picture."" ""I must upbraid you for your statement about 'never annoying authors with such letters.' I do not know about how other authors feel and, as this is my first book, I really do not know how a dyed-in-the-wool author should feel. I know I was so pleased and excited to know that some one liked the book that I fairly capered! You see, it comes as a surprise to me that anyone should like it. I wrote it about ten years ago and I did not think very much of it. I thought so little of it that I never submitted it to my publisher. In fact it was so well hidden that when the Macmillan Company man was here and wanted to see it, the house had to be torn up to find it. And I let him have it with fear and trembling and nearly had a stroke when he bought it. So you can understand my pleasure at a kind word!""""I remember your town of New Bedford with so much pleasure. I went to Smith College and while there always promised myself a trip to New Bedford and Nantucket. While Northerners may picture the South as a romantic and exciting place, I had always pictured those two places as romantic and exciting. I had read so much about them. My college career was cut short by my family's need of me at home and my departure from the North was hasty but I could not pass up the trip to New Bedford and Nantucket. So I made the wildest, fastest trip through New England ever recorded and actually did see those towns. And I wasn[']t a bit disappointed. I loved New Bedford even if there weren't any whales tied up at the docks as I had fondly hoped. I have always been sorry I could not have had a longer stay there. But, at least, I saw the town and I wasn't disappointed."" A superb letter that not only provides a slice of her autobiography from her early years at Smith College, but also hints at the 'shell-shock' she incurred from her meteoric rise to success and fame, expressing her surprise that anyone would have been interested in this novel?"the manuscript of which she had abandoned in 1929 after three years of writing. She also notes an important characteristic of her novel that likely makes it more appealing to Northerners: she chose not to recall the war in a sentential manner, rather choosing to ""let the facts stand on their own two feet ..."""

      [Bookseller: University Archives]
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