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Displayed below are some selected recent viaLibri matches for books published in 1942

        SIGNED B/W Original Wedding Portrait Photograph July 10, 1942 of Barbara Hutton, American Heiress & Cary Grant, Hollywood Actor, SIGNED BY Cary Grant & Barbara, signed it in a Lighter Ink, & Inscribed to -- with Great Appreciation ( Quickly they Were N

      1942 - SIGNED B/W Original Wedding Portrait Photograph , 13 7/8 X 11 inches,Protected in Stiff Clear Plastic & Board,Minor Wear, SIGNATURES GUARANTEED AUTHENTIC, VG+ ( Quickly they Were Nicknamed Cash & Cary ) Signed photograph of them together is as Scarce as Hens Teeth, Cary lived 1904-1986, & Hutton lived 1912-1979 [Attributes: First Edition; Soft Cover]

      [Bookseller: Bluff Park Rare Books]
 1.   Check availability:     AbeBooks     Link/Print  


        A WITNESS TREE (Signed, First trade Edition)

      New York: Henry Holt and Company, 1942. First trade edition. Near Fine/Very Good +. First printing of the trade edition, SIGNED by the author on the half-title. Book is Near Fine with minor separation between end paper and first blank, otherwise a clean, tight copy. In a Very Good+ dust jacket that is toned and chipped on the spine, but generally quite attractive. This book won Frost his fourth Pulitzer Prize for poetry. It was released as a signed, limited edition and a trade edition. As a result, very few of the trade editions were ever signed, making this copy quite unusual on the market. Additional images available upon request. Near Fine in Very Good +. dust jacket.

      [Bookseller: Whitmore Rare Books]
 2.   Check availability:     Biblio     Link/Print  


        Carlo Braccesco - Istituto Nazionale Di Studi Sul Rinascimento Sezione Lombarda

      Milano: Castello Sforzesco, 1942. IN GOOD CONDITION. 27pp, [3], 42 black and white illustrations, [12], printed on fine glossy paper, bound in decorative paper over boards, with leather spine label intact, binding and hinges tight. LIMITED EDITION #400 of 1000 copies. This copy INSCRIBED BY THE AUTHOR on the front free endpaper. Occasional foxing, covers show corner and edge wear.. BOOK SIGNED BY THE AUTHOR. Limited Edition. Hard Cover. Folio - over 12" - 15" tall.

      [Bookseller: Monroe Bridge Books, MARIAB Member]
 3.   Check availability:     Biblio     Link/Print  


        ARCHIVE OF AMERICAN COUNTRY PAINTING

      Ann Baker (1942-2006), specialist in country painting, as awarded by the Historical Society of Early American Decorating, was a renowned artist and teacher of American country painting. She was noted by American Life Magazine as one of the 100 Master Crafts Persons in the country. Her works are represented in several museums, and one of her pieces was displayed in the White House. As a teacher, Baker maintained an extensive collection of historical designs, patterns, stencils, photographs and other teaching aids designed to preserve the authentic designs and historical traditions of country painting. This unique collection consists of over 700 items relating to her work as a country painter, toleware artist, gold-leaf painter and teacher, and exhibits a variety of techniques. The designs are on glazed cardboard, acetate and architect's linen and range in size from very small to large elaborate, multicolored works (20 x 26 inches). The colors from the paint and real gold leaf are stunning. While most designs are for tea caddies, various trays, boxes and multiuse borders, there are a few original Baker artworks, including three on felt. An approximate breakdown of the material is: 75 extra large paintings, 145 large paintings (8-1/2" x 11"), 50 medium sized paintings (5" x 7"), 25 small paintings, four watercolors, 200 pencil sketches, 100 stencils and many photographs of source material. Ann Baker was devoted to preserving historical technique so important to early American life. This archive illustrates the original designs and colors, identifies the sources of many designs and provides teaching methods for a new generation of artists. As a result, the collection has historical value as well as ongoing teaching value. These paintings and related materials must be seen to fully appreciate the vibrant colors, intricate designs and overall beauty. This archive would be a wonderful addition to any early American museum or collection.

      [Bookseller: Oak Knoll Books/Oak Knoll Press]
 4.   Check availability:     Biblio     Link/Print  


        The "Time and Tide" Map of the Atlantic Charter

      London.: George Philip & Son.. Copyright 1942.. Color pictographic / pictorial wall map, 30 x 42 3/4 inches on sheet size 32 1/2 x 43 3/4 inches, linen backed and attached to wooden rods along upper and lower edge. Toned and faded, light creases from rolling, light wear, little chipping and short tears where rods attach to map and at side edges. A stunning map by MacDonald Gill, celebrating the Atlantic Charter between the United States and the United Kingdom, summarised in the seal at right of the map: "The President of the United States and the Prime Minister, Mr. Churchill, representing His Majesty's Government in the United Kingdom, being met together, deem it right to make known certain common principles in the national policies of their respective countries on which they base their hopes for a better future for the world. 14 August 1944." This is the American edition, marked "Denoyer-Geppert Company, Chicago, Sole U.S. Distributors." Pictographs mark the resources of countries worldwide. .

      [Bookseller: oldimprints.com]
 5.   Check availability:     Biblio     Link/Print  


        Fun With Dick and Jane

      This is an original hardcover corrected proof copy of Fun With Dick and Jane dated March 23, 1942.  Cathedral Basic Readers.  A revision of  Fun With Dick and Jane by William S. Gray and May Hill Arbuthnot.  "O. K. for Printing See correction on Copyright Page" and initials and date on front fly page.  Pictorial title page contains correction written in ink.  Index also contains corrections.Illustrated green cloth boards.  Boy and girl at top right corner.  Dome at bottom right corner.  Boards are soiled with moderate spine bumping and tiny corner rubbing.  Back cover has some unreadable black stamped numbers. Binding is very good.  Page edges are tanned and heavily soiled. All colored illustrations in book. Several inside pages have areas of soil.  Page number corrections are written in pencil. A book of this era and in good condition is a rare find.  

      [Bookseller: Willow Books]
 6.   Check availability:     Biblio     Link/Print  


        No Coffin for the Corpse - 1st Edition/1st Printing

      New York: Little Brown & Company. Very Good+ in Fair dust jacket. 1942. First Edition; First Printing; Signed by Author. Hardcover. First Edition, First Printing, published July 1942 in Very Good+ condition in fair, somewhat tattered dust-jacket with a number of tears, some tape-repaired. Signed by author Clayton Rawson on the front end paper. A rather scarce signed First Edition; "In Rawson's No Coffin for the Corpse, The Great Merlini is called upon to make good, with Death sitting in judgement on his success or failure. Any mystery lover who has not met Merlini will find here a clever, breathless, and witty introduction to a fascinating and able gentleman." (from the dust-jacket) .

      [Bookseller: Books Tell You Why]
 7.   Check availability:     Biblio     Link/Print  


        MIKE MULLIGAN AND HIS STEAM SHOVEL. First U.K. Edition. 1942, 2nd Impression Stated ,

      LONDON. Faber and Faber Limited. Printed in GB by W. S. Cowell. 1942 - HARDBACK NODustjacket, Stated 1st Published in July 1942 on Copyright pg, First U.K. edition. , Second Impression, VG-/GOOD+, AS-IS NOJACKET, Oblong Red Pictorial Boards Of B/W Smiling Steam Shovel, with Man in Red Waving Surrounded by Green & White, Cover Light rub, Wear Edges & Extremities, Approx 9 1/2 X 8 3/4 in. Interior nice tight clean LIGHT fox lightwear & Several pgs with small blank Margin Tears Chips, UNPAGINATED.Oblong Quarto, Light small Crease mark front Cvr in Red Margin, Back Cvr is Green with Steam Shovel in Center in Red & Black with Man waving from Inside, With Yellow Spine & Black Lettering, Couple tiny small dogeared pgs, Light Bow to Cvrs. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bluff Park Rare Books]
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        Prièrere". Manuscrit autographe.

      S. l., vers 1942. - 1 p. (22 lignes). In-4. Peut être un brouillon pour sa "Citadelle" composée en partie aux Etats-Unis en 1941/1943, peu avant son retour en Europe et son dernier survol de la Méditerranée. Non corrigé. - "Oh, mon Dieu, moi je veux vous aider et reparer les mœurs du jour et redresser l'autel. Et retablir le sens du livre. On vous permettra, vous les hommes, sur une page blanche de l'ecrir. L'amour? Je ne crois plus à cet amour immediat. L'amour n'est point de s'attendrir sur cette [.] qui [.] mais sur ce dont elle est depositaire et qui seul rayonne. Il ne s'agit pas de ranger ceux qui ont dispersé leurs aromates mais de refaire ces vase sacrés capable de capter la conscience et de construire un livre avec les mots. Nous avons besoin que tous collaborent. La [.] n'est point l'œuvre repandue par quelque vers, alimentant les justes - mais la [.] de vreation - et ici je resoud cette contradiction interne qui nous fait sentir sans enthousiasme pour Descartes - La [.] pour nous - tantot pour les sauvages des iles qui dansent leurs danses et chantent leurs chants loin de nos [.] [.] ouvriers. Et nous balancons entre ces deux pôles sans idée claire pour saisir la réalité qui disperse nos aspirations. La même chose cependant. Createur - Je t'ai donc surpris là dans ton obscur travail fourmillier qui ruche qui fabrique ton miel sans le savoir. Et cette [.] qui souffre ne na sais pas pourquoi elle souffre sinon qu'elle souffre. C'est l'humble image d'une mauvaise aventure, d'une famille dispersée et d'un enfant malade - quand il s'agit de quelque chose [.] comee une crise religieuse et d'une ascension retardée. Je ne peux souffrir ces notions prises non à la base. Les polemiques. Un roi c'est un sang royal jusqu'au dernier".

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        The Little House

      Boston: Houghton Mifflin, 1942. First edition of one of the rarest and most sought after children's classics. Oblong quarto, original blue cloth. Light rubbing to the spine tips, a near fine copy in an excellent unrestored dust jacket that shows a small chip to the crown of the spine and some light wear. Small ink inscription opposite the title page. This book and dust jacket are usually seen with restoration, this copy is exceptionally clean and bright. Housed in a custom quarter morocco clamshell box. Once upon a time there was a Little House way out in the country. She was a pretty Little House and she was strong and well built." So begins Virginia Lee Burton's The Little House, winner of the prestigious Caldecott Medal in 1943. "Taking her cue from her small sons, Aristides and Michael, Burton chose subjects that would intrigue children… [including] Mary Ann, the steam shovel… [Burton's books] have heroes and heroines children can understand and enjoy, ingenious and satisfactory endings and lively illustrations. The books survive because they exhibit so effectively the elements most basic to children's literature" (Silvey, 109-10).

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        3 Blind Mice

      William Morrow and Company, New York 1942 - First edition. Quarto. 271pp. Else fine with slightly sunned spine. Inscribed by Seifert to the family of her sister, the prolific author Elizabeth Seifert. A scarce mystery with a wonderful association. *OCLC* locates no copies. [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Winter of Artifice

      [New York: The Gemor Press,, c. 1942]. Line Engravings on Copper by Ian Hugo. Octavo. Original black and white pictorial boards. With the original glassine jacket. Copper engravings throughout by Ian Hugo. Light partial tanning to free endpaper. An excellent copy in the unusually nice glassine jacket which is has only two small chips at the corners. First US edition, first impression, and the first illustrated edition. One of only 500 copies. Inscribed by the author on the front free endpaper, "For Vincent Vodrayka, Anais Nin" and additionally signed by the artist Ian Hugo. A superb copy.

      [Bookseller: Peter Harrington]
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        Corriere della sera.

      Subject: (Giornali). Milano, 1942, A. XXI, annata completa, lotto di trecentosessantaquattro giornali.

      [Bookseller: LIBRERIA PIANI]
 13.   Check availability:     TomFolio     Link/Print  


        Marcel Baschet. 1862-1941. Sa vie, son oeuvre

      SADAG, 1942. in4 Broché

      [Bookseller: crealivres]
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        FLIGHT TO ARRAS

      New York: Reynal & Hitchcock, (1942). First Edition. Hardcover. Usually found without the slipcase and with severe rubbing to the spine, this is a much better than average copy with only light rubbing to the spine and a completely intact slipcase. Owner name on the half-title page. Near Fine in a Near Fine slipcase with sunning to the outer edges. Bernard Lamotte. Bound in publisher's blue leather-backed boards. Copy #361 of 500 numbered copies SIGNED by the author and by the illustrator Bernard Lamotte.

      [Bookseller: Charles Agvent]
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        Flight To Arras

      United States: Reynal & Hitchcock, 1942. 1st Edition 1st Printing. Hardcover w/ jacket. Very Good/Good. 8vo - over 7¾ - 9¾" tall. Signed by the Author. Clean text. Gently read. Heavy uniform toning to the edges of the text block. Toning to the edges of the cloth boards with light wear to the spine heel and crown. Blue cloth boards & spine, gold spine lettering. Dust cover has been clipped to the top corner of the front panel with the original price still intact to the bottom corner. Heavy chipping to the jacket extremities, rubbing to the flap creases and sunning to the spine. New mylar cover. Very interesting copy in that firstly it has been signed by the author, and second it contains a monologue written in pencil to the second FEP by an unnamed previous owner outlining a journey taken by aircraft from Berlin to Paris in 1945 in which he visited the WWI battlefield at Arras en route.

      [Bookseller: Southern Books]
 16.   Check availability:     Biblio     Link/Print  


        Non Vouloir by Georges Hugnet

      Paris: Editions Jeanne Bucher, 1942. First edition. Original Wraps. Orig. tan wrappers, front cover printed in red and black. Very good/No Dust Jacket. 76 pages. 19 x 14 cm. Limited edition copy 280 of 420 on Velin Bouffant. Four full-page zincographs by Picasso, original price on back cover, 380 fr. Back cover chipped at fore-edge.

      [Bookseller: Royoung bookseller, Inc.]
 17.   Check availability:     Biblio     Link/Print  


        [Original Drypoint Etching] LE VIOL III (L'ETREINTE II) ("EMBRACE")

      [Paris: Lacourière, 1942].. Original drypoint etching. Plate size 29.5 x 36.5 cm, with full margins. Hinged in two places at top edge to mat board, otherwise fine. One of an edition of 55 copies on Montval paper bearing the Picasso watermark, executed in 1933, and published by Lacourière in 1942 (neither signed nor numbered). An element from the famed Suite Vollard BLOCH 259.

      [Bookseller: William Reese Company - Literature ABAA-]
 18.   Check availability:     Biblio     Link/Print  


        JAPANESE PRINTS OF THE LEDOUX COLLECTION

      1942. Very Good. (LEDOUX COLLLECTION). JAPANESE PRINTS OF THE LEDOUX COLLECTION. In five volumes. Vols. I & II: New York, privately printed, 1942-44. Vol. III: New York, E. Weyhe, 1948. Vols. IV & V: Princeton University Press, 1950- 51. Vols. II & III are 1/400, the remaining vols. 1/1000 copies. 5 vols., folio, cloth-backed patterned paper boards, paper labels. Vol. I (Primitives), 20 color & 30 halftone plates; Vol. II (Harunobu and Shunsho), 8 color & 44 halftone plates; Vol. III (Buncho to Utamaro), 20 color & 39 halftone plates; Vol. IV (Sharaku to Toyokuni), 16 color & 45 halftone plates; Vol. V (Hokusai and Hiroshige), 8 color & 44 halftone plates. Condition of all vols. is very good with light soiling at the boards and cloth, slight edgewear, tape marks to the inner boards here and there, slight sunning at the spine.

      [Bookseller: Boston Book Company]
 19.   Check availability:     Biblio     Link/Print  


        La structure du comportement.

      Paris, 1942. Lex 8vo. Original printed green wrappers. A few small tears to front wrapper (no loss) and a bit of light wear to spine. Uncut and unopened. A very nice copy. (2), 314, (2) pp.. Scarce first edition on Merleau-Ponty's first published work, "The Structure of Behavior", which constitutes the outset of his philosophy, the work on the basis of which he was awarded his doctorate, perhaps the most important of all of his works and as such a main work of 20th century thought. "The first sentence of "The Structure of Behavior reads", "Our goal is to understand the relationship of consciousness and nature: organic, psychological or even social" (SB, 3). In the philosophical field that Merleau-Ponty entered, the question concerning the relationship of consciousness and nature was dominated by two distinct approaches: on the one hand, what Merleau-Ponty would call 'objectivism', understood as naturalism in philosophy, behaviorism in psychology, and mechanism in biology; on the other hand, what he calls 'intellectualism', that is, the neo-Kantianism which loomed large in France at that time, particularly the thought of Brunschvicg. Merleau-Ponty's own position emerges as he critically negotiates his way between these two approaches. In "The Structure of Behavior", he argues against naturalism and objectivism, however, he does not employ the epistemological resources of the Kantian tradition. In his rejection of an epistemological starting point, Merleau-Ponty's position resembles that of Hegel in the Phenomenology of Spirit. The Hegelian influence on "The Structure of Behavior" should not be underestimated. Like Hegel, Merleau-Ponty 'starts from below', which is to say, he does not begin with an analysis of a subjectivity which would constitute the condition of possibility for the appearance of objectivity. Rather he turns his attention to the research that was currently being done in the psychology and the biology of his day, attempting to demonstrate that the actual results of this research contradict the explicit ontology that subtends it." (SEP)

      [Bookseller: Lynge & Søn A/S]
 20.   Check availability:     Antikvariat     Link/Print  


        Autograph musical manuscript signed.

      New City, 30. V. 1942. - Folio (314:241 mm). 6 pp. The entire manuscript, lyrics, and music are beautifully penned in jet black ink on Chappell No. 2 and Rayner, Dalheim & Co. lined music paper. A complete musical manuscript by Kurt Weill of his "Song of the Free". The musical portion of the manuscript is six pages in length. On page one of the manuscript, Weill has written: "Song of the Free by Archibald MacLeish, Music by Kurt Weill". On the cover (music lined paper), Weill has written: "The manuscript of The Song of the Free (The United Nations Anthem) for Gertrude Lawrence as a token of my undying affection. Kurt Weill. New City May 30, 1942". German composer Kurt Weill immigrated to the United States in 1936, and his interest in American music and literature became a vital part of his music. Weill set the poetry of many American poets and writers to music, including Walt Whitman, Robert Frost, Archibald MacLeish and Maxwell Anderson. According to the Kurt Weill Foundation for Music, "Song of the Free" was composed for the war effort between February and April, 1942. Titled by Weill "Song of the Free (The United Nations Anthem)", the song may have been used as part of a radio broadcast celebrating "United Nations Day", which was June 14, 1942. At that time, the "United Nations" referred to U.S. Allies in World War II (the United Nations, as we know it today, had not yet formed). An important musical manuscript, with an important association between Weill and the three-time Pulitzer Prize-winning Modernist poet, Archibald MacLeish. Musical manuscript material in Weill's hand is extremely rare. - Light soiling.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 21.   Check availability:     AbeBooks     Link/Print  


        The Screwtape Letters

      London, Geoffrey Bles. 1942., 1942. FIRST EDITION.8vo., pp. 160. Finely bound in recent full black morocco, gilt titles to spine, gilt ruled border to boards, marbled end-papers. A Fine copy of a hellishly scarce title.. Bleiler; Checklist of Fantastic Literature [160].

      [Bookseller: Adrian Harrington Rare Books]
 22.   Check availability:     Biblio     Link/Print  


        Photographic archive documenting four years as a United States Military Academy cadet at West Point, New York - 1942-1946

      West Point, New York: Scrapbook, 1942. Over 350 vernacular photographs glued into a scrapbook created by Steven E. Hilovsky. Hilovsky (he changed his last name to Hill in the mid 1950s) entered West Point in 1942 after attending the University of Pittsburgh for three years. He graduated in 1946. Upon entering active duty, Hilovsky became an Army Air Corps pilot. He retired from the Air Force in 1970 as a Lieutenant Colonel. This is undoubtedly one of the best-if not the best-photographic chronicles of West Point life ever made by a cadet. Hilovsky begins with the very first day of Plebe Year and documents daily life and key events from that time until his graduation four years later. Everything is covered: indoctrination, hair cuts, clothing issue, fit-to-fight, Recognition, parent visits, Yearling Summer, Popolopen, weapons training (mortars, howitzers, anti-tank, tanks, machine guns, etc), infiltration, a minstrel show, academics, athletics, studying, food stashes, air show (P-40, P-47, P-51, P-59, B-17, B-29, B-24), football (goat-engineer, Notre Dame, Navy, etc.), aviation training, formations, parades, architecture, picnics, equitation, dragging, graduation, and more. Hilovsky has annotated many pages in white ink. His Howitzer picture is laid in. Pages are all securely attached with a post binding; some edge wear. Photographs are all in very nice shape. The scrapbook cover is edge-worn. The front gutter is cracked and has been reinforced with cellophane tape that has now loosened and yellowed. . Scrapbook. Very Good. Oblong 4to.

      [Bookseller: Read'Em Again Books]
 23.   Check availability:     IOBABooks     Link/Print  


        Typed Letter Boldly Signed

      1942 - ("Gabriel Pascal") 2 separate pages, April 25, 1942 on New York Athletic Club color pictorial letterhead to actress Katharine Cornell in Snedens Landing, Palisades, New York. 11" x 8 1/2". Very good. A flattering and fawning letter complimenting her on her stage role in Candida* hopefully convincing her to appear in one of his films. Together with postmarked and stamped Express-Special Deliveries envelope mailed at 1 PM in New York City and arrived at 5 PM the same day in Palisades, New York. Shaw's Candida ran from April 27, 1942 to May 31, 1942 at the Schubert Theatre. Pascal (1894-1954) Hungarian producer and director associated with Alexander Korda. He befriended George Bernard Shaw and produced four films based on Shaw's plays.

      [Bookseller: Houle Rare Books/Autographs/ABAA/PADA]
 24.   Check availability:     AbeBooks     Link/Print  


        Cross Creek (SIGNED BY BOTH AUTHOR AND ILLUSTRATOR)

      New York, New York: Charles Scribner's Sons, 1942. First printing. Hardcover. Very Good +/Very Good. 368 pp. Decorations by Edward Shenton. Original green cloth covers with silver decorative image on front cover and spine are bright and unblemished. Minor bumping only to spine extremities. An occasional smudge.Signed by the author on the title page. Also signed by the illustrator Edward Shenton on the half title and at the bottom of the first page. Tanning to endpapers. Rubbing along edges of dust jacket spine, edgewear at spine extremities and corners, minor closed tear at bottom edge, Scratch to rear panel of dust jacket. In protective Brodart jacket. From the collection of Hollywood actor Jack Palance and with the bookplate from the 2006 sale of his personal property on the inside front cover. This copy has the Scribner's "A" to the copyright page and does not have the publisher's colophon. It is unknown whether the copies with only the "A" but not the colophon, or the copies with both the "A" and the colophon constitute the first issue of this book. A fine and unique signed copy of a beloved children's classic.

      [Bookseller: Come By Chance Books (IOBA)]
 25.   Check availability:     Biblio     Link/Print  


        LUCKY BUCKY IN OZ

      Chicago: Reilly & Lee. Fine in Near Fine dust jacket. 1942. First Edition. Hardcover. Children's; Fantasy; We fit archival quality clear acrylic covers for additional protection whenever possible. ; B&W Illustrations; 8vo 8" - 9" tall; 290 pages; First edition first state in like dustjacket. Red cloth, pictorial cover label pastedown. Ownership page filled in neatly in pen with only a small owner's name. Pictorial DJ with light crease at flap edge and quite minor chipping, price clipped. B/w illustrations and plates by Neill, this being his last book. Oz stylized device stamped in black on spine. "Z" in OZ within the O. Scarce First state DJ with rear flap text a letter from Bucky of Oz addressed to "Boys and Girls" encouraging the purchase of war bonds. All points per Hanffe and Greene, Oziana, XXXVI. Graphic shows both book and dustjacket. .

      [Bookseller: poor mans books]
 26.   Check availability:     Biblio     Link/Print  


        The High Window

      New York: Alfred A. Knopf,, 1942. Octavo. Original light brown cloth, titles to upper board and spine in dark brown, top edge trimmed others not. With the pictorial dust jacket. Endpapers browned as usual, and very light rubbing to the tips, but an excellent copy in the lightly rubbed and tanned jacket with some minor loss to the corners. First edition, first printing.

      [Bookseller: Peter Harrington]
 27.   Check availability:     Biblio     Link/Print  


        High Window, The

      New York: Knopf, 1942. First edition. Hardcover. Very Good. Ends of spine rolled, spine slightly cocked, light shelf wear and pages edged which are slightly tanned, previous owner's bookplate on inside paste down / no dj. 3rd Marlowe novel.

      [Bookseller: Seattle Mystery Bookshop]
 28.   Check availability:     Biblio     Link/Print  


        Deadlier than the Male (First Edition, copy belonging to Dorothy B. Hughes)

      New York: Duell 1942, Sloan and Pearce. First Edition. First Edition. Copy belonging to noted crime author Dorothy B. Hughes, author of "In a Lonely Place" and "Ride the Pink Horse," with her name in autograph pencil on the front endpaper. Near Fine in a Near Fine dust jacket. Jacket is lightly nicked at the corners, with a touch of toning at the edges of the rear panel, else exceptionally nice. Basis for the notable 1947 film noir, "Born to Kill," directed by Robert Wise and starring Claire Trevor, Lawrence Tierney and Walter Slezak. A great association between two authors whose work helped define hard-boiled fiction in its maturity and provided source material for some of the most important noir films of the 1940s and 1950s. Full provenance available.

      [Bookseller: Royal Books, Inc.]
 29.   Check availability:     Biblio     Link/Print  


        Men at War

      Crown 1942 - First edition with A on copyright page, First Edition and original price of $3.00 stated on front flap of dust jacket, near fine in a very good dust jacket. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        Dwelling In The Country for Stefan Lorant

      Mat mounted, a remarkable, original 17 colors pastel and pencil drawing that epitomizes Richard Neutra's great talent as a draughtsman, done during one of the most fruitful periods of his career over the full extent of a 276 x 392 mm sheet of ecru paper for Stefan Lorant, and inscribed in capitals near the bottom with the title and R J Neutra, Arch, dated, March 29, 1942. Lorant as the first major editor in modern photojournalism is credited with publishing countless first historical images: he emigrated to the United States in November 1940 and decided to make his home in the beautiful, sparsely populated Berkshire Mountains. DRAWING SIZE: 276 x 392 mm or 10.875 x 15.4375 inches. MAT SIZE: 303 x 402 mm or 11.9375 x 15.8125 inches. MOUNTING: Drawing sheet bonded to a tan undersheet and mounted to a 2 mm white board mat. Side, top and bottom margins are different; side margins about 5 mm, top and bottom margins about 14 mm, the bottom margin wider. Mat has no pinholes on the front or bonding marks on the rear: for viewing, it appears to have been propped on a shelf. CONDITION DETAIL: Drawing Sheet: fresh colors: a few instances of light soiling from fingertips: edges with air pocket bubbles: some light wear lines. Inscription: Brown letters faded but quite readable. Numbers-29 and 42-in the date and the h in Arch are lightly retouched by another hand in black ink (Lorant?). Mat: Drawing mounted at a slight angle from 90 degrees; likely done by Lorant himself and not a framer. Board bowed: some margin soiling: 2 spots at bottom: bottom corner wear, top inside corner slightly bent: rear of mat with documentation note in a different hand, Richard Neutra, (bottom) and March 29, 1942 (top). AUTHENTICATION: The artwork is not a print or a work executed by Neutra on top of a print, a possibility that was examined, since he sometimes worked in pencil, pastel or watercolor for clients over a base print. As the sheet is glued to a mat, authentication was made with the assistance of an expert technician using a Nikon Optiphot Optical Microscope with a wave plate to improve contrast, at increasing magnifications, 50x, 100x, and 400x, achieving with the last magnification a 2.5 microns resolution. The examination was done on a variety of dispersed areas on the picture surface and pictorial integrity was unquestionably maintained throughout with no pixelation. PROVENANCE: Preserved by Stefan Lorant until his death; purchased from his estate at a Berkshire auction. DOCUMENTATION: The Getty Research Institute has Stefan Lorant's papers including his 40's correspondence with Richard Neutra; found in Folder 3A of Box 24 of Series VIII.A. ORIGINAL DRAWING: From the evidence of this carefully worked over, finished drawing with its deeply embedded feel of the rectangular set into the round, Neutra designed a house that would have been his second significant residential structure on the East Coast after Windshield House but it was never built and this drawing is perhaps the best representation of what might have been. Done soon after his celebrated designs for Nesbitt House, it also is marked by a refining of its horizontal orientation, the pavilion form seemingly open to sun and air and nestled against the land like a bird nest in a tree. Neutra has made full use of traditional materials to finish the Japanese inspired post and beam structure: in the drawing one can see stone, wood, batten, stucco and glass. And there is an emphasis on color with use of brown, ochre, maize, golden poppy, pumpkin, orange-red, rust, white, gray, charcoal, black, Kelly green, traditional pigment green, myrtle green, Persian blue, and royal blue. Seen is a 3/4 perspective, middle distance view in tranquil morning light of the exterior design for the front of a single family house with fireplace sited on an elevation outside Lenox, Massachusetts with integrated garden with signature tree, a man reading a book in the sun on a simple metal and striped cloth reclining chair-melding into the landscape-the house and garden interacting with Nature, as represented above by an arching edge of the sky that seemingly touches down on the roof of the house like the legs of a giant bird. The house has a glass front with stucco and batten base, shaded by a cantilevered roof with wide overhang, outer side with set back wing, inner side with stone wall façade and set-in door and stone walk with low rise steps descending into a landscape depicted in characteristic Neutra fashion, poised like a bird in full plumage.

      [Bookseller: Steven Waldman]
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        The Complete Dashiell Hammett Omnibus, containing: The Thin Man, The Maltese Falcon, The Glass Key, The Dain Curse, Red Harvest

      Alfred A. Knopf/ Borzoi Books, 1942., 1942. FIRST EDITION- the comple novels. Thick 8vo. Publisher's hardcovers in photographic jacket. Long gift note to flyleaf else a fine book in near fine price-clipped wrapper, with a little edgewear to spine tips, and some nominal nicks and tears. A crisp copy with unfaded spine. Shows well. An attractive first omnibus of works, including Sam Spade, Hammett's most famous detective and the virtual prototype of the tough-guy private investigator. Layman, Cooper & Pike; Detective Fiction

      [Bookseller: Adrian Harrington Rare Books]
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        No Coffin for the Corpse - 1st Edition/1st Printing

      New York: Little Brown & Company. Very Good+ in Fair dust jacket. 1942. First Edition; First Printing; Signed by Author. Hardcover. First Edition, First Printing, published July 1942 in Very Good+ condition in fair, somewhat tattered dust-jacket with a number of tears, some tape-repaired. Signed by author Clayton Rawson on the front end paper. A rather scarce signed First Edition; "In Rawson's No Coffin for the Corpse, The Great Merlini is called upon to make good, with Death sitting in judgement on his success or failure. Any mystery lover who has not met Merlini will find here a clever, breathless, and witty introduction to a fascinating and able gentleman." (from the dust-jacket) .

      [Bookseller: Books Tell You Why]
 33.   Check availability:     IOBABooks     Link/Print  


        NOTES TOWARD A SUPREME FICTION

      Cummington, MA: The Cummington Press, 1942.. White cloth, lettered in black and gray. Slightly dusty at top and lower edges, cloth a bit darkened at spine and edges, small bookseller's label on upper pastedown, but a very good copy First edition. Title-page design by Alessandro Giampietro. One of 190 numbered copies printed on Dutch Charcoal paper, from a total edition of 273 copies. With the ownership signature on the front pastedown of Lionel Trilling, and the later bookseller's Trilling library dispersal label. EDELSTEIN A6a.

      [Bookseller: William Reese Company - Literature ABAA-]
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        De ma fenêtre

      Paris: Aux Armes de France,, 1942. Octavo. Original cream wrappers printed in red and black. Housed in a pale blue cloth folding box. Backstrip just a little creased but an excellent copy. First edition, first impression. One of 280 numbered copies on papier d'Arches. With the author's signed presentation inscription incorporating the printed half title, "Pour Jacques Manuel, a qui j'envoie, un bonjour d'amitie, Colette". The recipient would subsequently work with Colette on a film adaptation of one of her later works.

      [Bookseller: Peter Harrington]
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        Flight to Arras

      New York: Reynal & Hitchcock,, 1942. Translated from the French by Lewis Galantière. Illustrated by Bernard Lamotte. Octavo. Original blue cloth, titles to spine and upper board gilt, pictorial endpapers, top edge dyed blue. With the dust jacket. 12 plates by Bernard Lamotte. Spine slightly rolled. An excellent copy in the price-clipped and rubbed jacket with a few chips and closed tears and a small mark at the head of the faded spine panel. First English language edition, first printing. Signed by the author on the half-title, and on the same page inscribed by the illustrator Bernard Lamotte, "a le Huédé, avec toute mon amitié, Bernard Lamotte". The recipient was Hervé le Huédé, captain of the French luxury liner Normandy, which made its final voyage across the Atlantic in August 1939 and was stranded in New York at the outbreak of war in September. Le Huédé was promoted when the original captain Stephen Payen returned to France, and he served aboard the docked ship until it was requisitioned by the US government in 1941. Saint-Exupery and Lamotte met in art school in France, and during the early 1940s spent a great deal of time together at Lamotte's New York studio, Le Bocal (The Fishbowl). It was here that Saint-Exupery did much of his work for The Little Prince while Lamotte completed the illustrations for this volume. Le Bocal was the social hub for a large group of French expatriates, artists, and celebrities, and it is likely that the stranded captain spent time there.

      [Bookseller: Peter Harrington]
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        Mérida from the Roof. An original watercolor by Bishop, gouache and graphite on paper, 11 9/16? wide x 8 9/16? high

      Benton 27. In the spring of 1942, Bishop spent two weeks in Mérida, the capital city of Yucatán, during an extended five and a half month trip through Mexico with Marjorie Carr Stevens, Bishop?s companion for five years from 1941 until 1946. On this trip, Bishop met Pablo Neruda, who was on a diplomatic mission to Mexico and one day happened to be climbing the same pyramid at Chichén Itzá as Bishop. Reviewing Bishop?s Complete Poems: 1927-1979 (1983), on the dust jacket for which this painting is reproduced, James Merrill wrote: ?The watercolor on the jacket, a view of a Mexican town done by the poet in 1942, serves nicely as an introduction. It?s a cheerful scene, in no way traditionally ?picturesque.? Beyond a balustrade flanked on one side by an absurd ornamental urn (so much for Art?) and on the other by flourishing palm fronds, we see some little, run-down, brilliantly colored houses. Above these, near and far, quite upstaging the few church spires lost among them, perhaps fifty windmills crowd the horizon ? so that, like the mysterious flooded dreamscape in ?Sunday, 4 A.M.,? it appears to be ?cross- and wheel-studded / like a tick-tack-toe.? The picture illustrates at once Bishop?s delight in foreign parts, her gratitude for the givens of a scene, and her typical way with systems. These tend to fade beside her faith in natural powers ? here, those jaunty cockades turning in wind to draw water, compared to which the Christian temples, though neatly delineated, look a touch feeble and evanescent.? ? James Merrill, ?The Transparent Eye? in Collected Prose (N.Y.: Alfred A. Knopf, 2004), p. 235

      [Bookseller: James S. Jaffe Rare Books LLC]
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        Carmel-by-the-Sea Past and Present

      Monterey, CA.: Jo Mora Publications.. Copyright 1942.. Color pictographic / pictorial map poster (carte), 18 x 24 1/2 inches on sheet 19 x 25 inches, folding as issued to 9 1/2 x 7 1/2 inches. Very good condition. Jo Mora is perhaps the best known and well loved of all the pictorial map makers of the early and mid twentieth century. A lively map of Carmel-by-the-Sea, California, with small cartoon-like pictographs. There is extensive historical information, all infused with Mora's delightful sense of humour. In a particularly delightful touch, the lower right border is dedicated to the dogs of Carmel: "Old Carmel had its famous doggies, too. Real village personalities. Here's just a few from our Who Was Who in Bowwowland." .

      [Bookseller: oldimprints.com]
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        POKY LITTLE PUPPY

      1942. 2. (TENGGREN,GUSTAF)illus. THE POKY LITTLE PUPPY by Janet Sebring Lowrey. NY: Simon & Schuster 1942. Blue cloth spine and pictorial boards, a touch of cover rubbing, small area faint light brown soil on 4 pages (mostly not noticeable) else VG+ in dust wrapper. (dw with 2" piece off bottom of spine and 1/2" piece off top of spine, worn at front fold). 1st edition of the most popular Little Golden Book ever published and also amongst the first ever published (the first 12 were issued simultaneously). Beautifully illustrated in color by Gustaf Tenggren. Scarce, esp. in dw.

      [Bookseller: Aleph-Bet Books, Inc.]
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        JIM'S BOOK A COLLECTION OF POEMS AND SHORT STORIES

      New York: Privately Printed, 1942.. Large octavo. Cloth and boards, lettered in gilt. Spine faintly sunned, with a few stray marks to the upper portions of boards, usual toning of the endsheets, but a very good copy. Enclosed in a custom half-morocco folding clamshell box. First edition of the poet's first book, privately printed by his father for presentation. At the time, Merrill was sixteen, and enrolled at Lawrenceville School. This copy bears the poet's presentation inscription, dated contemporary with publication: "To Miss Evans with love and Merry Christmas James Ingram Merrill. 1942." Though the exact number of copies printed has long been a subject of speculation, the bibliographers hypothesize that the edition consisted of "about 200 copies." Whatever the size of the edition, the author presented copies to friends over the following five decades in sufficient numbers to make those inscribed upon publication the very distinct -- and manifestly most desirable -- minority. The nature and occasion of the inscription suggests the recipient may have been a close family friend or teacher. HAGSTROM & BIXBY A1a.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Why? A Bulletin of Free Inquiry (and later, An Anarchist Bulletin) - 29 Issues, 1942 - 1947

      New York: Why?, 1942-1947. First edition. Paperback. Good +. [Anarchism] Young, William, ed. Why? A Bulletin of Free Inquiry (and later, An Anarchist Bulletin). New York, Why?, 29 scattered issues ranging from 1942 – 1947. Wraps, folio sheets folded but not bound, ranging in size from 7 3/8 by 9-inches to 7 1/2 by 10-inches, 8 to 16 pp. each. Included are: the premier issue, Vol. 1 No. 1, April 1942; Vol. 1 No. 7, November-December 1942; Vol. II No. 1, May 1943; Vol. II No. 4, September 1943; Vol. II No. 5, November-December 1943; Vol. II No. 7, March 1944; Vol. III No. 1, April-May 1944; Vol. III No. 2, June-July 1944; Vol. III No. 3, August 1944; Vol. III No. 4, September-October 1944; Vol. III No. 5, November 1944; Vol. IV No. 1, March-April 1945; Vol. IV No. 2, May 1945; Vol. IV No. 4, July-August 1945; Vol. IV No. 5, September 1945; Vol. IV No. 6, October-November 1945; Vol. IV No. 8, January-February 1946; Vol. IV No. 9, March 1946; Vol. 5 No. 1, April 1946; Vol. 5 No. 2, May-June 1946; Vol. 5 No. 3, July 1946; Vol. 5 No. 4, August-September 1946; Vol. 5 No. 5, October 1946; Vol. 5 No. 6, November 1946; Vol. 5 No. 7, December 1946; Vol. 5 No. 8, January 1947; Vol. 5 No. 9, February 1947; Vol. 5 No. 10, march 1947; and Vol. 5 No. 11, April 1947, the final issue before changing the publication’s name to Resistance (New York, 1947—1954). Light cover wear and creasing to most volumes, a few tiny holes here and there, with the following defects: The outer sheet (front and back covers) are separated on Vol. 1 No. 1 with a 3/4-inch closed tear on the bottom edge of the whole issue; the outer sheet has a two-inch split at the head of the fold on Vol. 2 No. 4; the outer sheets of Vols. 2 Nos. 5 and 7 are almost completely separated at the fold; there is a 3/8-inch hole in the cover of Vol. IV No. 5 (lower margin); and Vol. 5 No. 11, printed on a heavier pulp paper than the rest, is heavily yellowed. A few issues have a light folding crease down the center of the publication. A broken run of William Young’s anarchist journal with articles on Conscription and American Fascism, the November 11th Martyrs, Thomas Paine: Revolutionist, Famine in India, the Paris Commune, Josiah Warren: Peaceful Revolutionist, Emma Goldman, The Cesspool of Law, Sacco and Vanzetti: Two Anarchists, God or Freedom, Proudhon: A Prophet for Our Time, the Haymarket Affair, Echoes of May Day, Decentralization, Anarchist Concepts: Philosophy in Practice, Behind the N.Y. Dock Strike, the Hopi Indians, Anarchist Federations, To the Rank and File of the I.W.W., Anarchism and Sports, the I.W.W. Convention, Abortion – Whose Crime?, May Day Demands, Open the Jails!, Work and Human Nature, Blood at the Root—Racist Violence Rises, the Abolition of the State, Scientists Should be Human, Shaw on Prisons, America’s Peons: An Eyewitness Account, Militarism is the Issue, the Housewife as Proletarian, Draft Cards Burned, Kafka’s Community, Comics and Consequences, Blueprint for the American Century, a poem by Carl Sandburg (“I Am the People, the Mob”), etc. Authors include Peter Kropotkin, George Woodcock, Max Sartin, Lead Line, Eddie Shaw, Frederick Lohr, A.D. Adams, Jackson Mac Low, Charles Storm, William Young, Elisée Reclus, Russell Newton Roman, Frank Leech, Paul Goodman, Ammon A. Hennacy, J. Sorel, Michael Grieg, Frank Lanham, S. Stein, Jules Scarceriaux, Holly Cantine (see Retort), and many more (several of which are only identified by initials). (Goldwater 295)

      [Bookseller: Bay Leaf Used & Rare Books, ABAA]
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        The Sadler's Wells Ballet. Camera Studies by Gordon Anthony. Signed copy

      London: Geoffrey Bles. G : in Good condition without dust jacket. Cover faded. 1942. First Edition. Blue hardback cloth cover. 310mm x 250mm (12" x 10"). xvi + 48 plates. 48 b/w plates, 14 of which are signed by the dancer. A unique item bearing the signatures of Ninette de Valois, Margot Fonteyn, Robert Helpmann, Moira Shearer, Julia Farron, Moyra Fraser, Margaret Dale, Alexix Rassine, Joy Newton, Celia Franca, Palma Nye, Gordon Hamilton, Patricia Garnet, Beryl Grey, etc. .

      [Bookseller: Barter Books Ltd]
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        MOON IS DOWN

      New York: The Viking Press, 1942. First edition, and one of only 700 copies specially bound in paper for distribution exclusively to booksellers. 8vo, original pictorial wrappers. 188. A good copy of this scarce item wih a bit of rubbing to the edges. Quite scarce. “For the first time since he wrote his first novel, twelve years ago, Steinbeck has gone outside of America for his setting. Yet this book, more than any other he has written, is of our times and of our hearts today. Its people are men and women like ourselves, and its hero, Mayor Orden, will stand with George and Lennie, Tom Joad and Jody Tiflin, among the immortal characters of fiction.”-Publisher

      [Bookseller: Buddenbrooks, Inc.]
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        THE ROBBER BRIDEGROOM

      Garden City: Doubleday, 1942.. Cloth. Small Grolier Book Shop ticket in corner of front free endsheet, endsheets and fore-edge somewhat foxed, otherwise a bright, unworn copy in a fine, bright example of the pictorial dust jacket. First edition. One of 3490 copies printed. Inscribed and signed by Welty at a later date on the front free endsheet. POLK A3:1.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Robber Bridegroom, The

      Garden City: Doubleday Doran, 1942. First Printing. Hardcover. Fine/Fine. First Edition (so stated). Tall 8vo; [6], 185, [1]pp. Publisher's teal cloth, the spine and upper cover lettered in white and stamped with a thick pink rule, fore-edge untrimmed, top edge stained teal; in a pictorial dust jacket priced $2. A superb, unblemished copy, perhaps unread, in a Fine jacket, still vibrant, with the barest of rubbing to the head of the spine panel. Welty first novel (following her collection of short stories, "A Curtain of Green), The Robber Bridegroom is a fairy tale (and in fact draws its title from one of the German folk tales collected by the Brothers Grimm), set on the Natchez Trace, a geologic ridge line that prehistoric animals (and later, Native Americans) followed between the salt licks of present-day central Tennessee to grazing lands and the Mississippi River to the south. It spins the story of a highwayman, Jamie Lockhart, who kidnaps a planter’s daughter, who falls in love with him. "The tale has plenty of indigenous horrors taken from the history of the Trace—wild creatures and men of various states of savagery—but Welty cut her teeth on Grimm’s Fairy Tales, so it should come as no surprise that she injects some of Grimm’s gothic horror into the tale as well. The Robber Bridegroom contains all of the virtues of a good fairy tale: mystery, magic, poetic description, and in general a sense of the inexplicable. What the tale lacks, surprisingly given the introspection of A Curtain of Green, is any psychological exploration of Jamie Lockhart and his need/desire to be both robber and gentleman, or of Rosamond’s relationships with her family, not to mention with the highwayman." (The Mississippi Writers Page) Note: With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd]
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        The Robber Bridegroom

      Garden City, NY: Doubleday, Doran & Company , Inc.. Very Good in Very Good- dust jacket. 1942. First Edition; First Printing. Hardcover. Very nice copy with some shelfwear at bottom edges of book. Mylar protected dust jacket is bright and clean with rubbins at bottom and top spine. Has a fold at middle of spine, not price clipped. Back of dust jacket has some blue ink spotting at top left side. Book is signed on title page with no inscription or date. ; 8vo 8" - 9" tall; Signed by author .

      [Bookseller: Bookquest]
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        Let's Be Offensive: A Revue With Political Punch

      London: Unity Theatre, (1942). Original lithographed poster, 54cm x 41cm (21" x 16"). Professionally matted and framed (not laid down) beneath UV-protective glass. Fine, unfaded example; Grade A. & & London's Unity Theatre was organized in 1936; decidedly left-wing in outlook, it had ties to the Communist Party of Great Britain and to Victor Gollancz's Left Book Club Theatre Guild. The Theatre's annual satirical revues, which pioneered the use of such agitprop techniques as dramatic documentary (akin to the "Living Newspapers" of the Federal Theatre in the U.S.), improvisation, and audience participation, marked an important phase in the evolution of dramatic performance art in Great Britain. A really lovely early work by S. John Woods, noted for his film and travel posters (including several for London Transport) in the 1950s. Not found in the Unity Theatre archives at Southern Illinois University.

      [Bookseller: Lorne Bair Rare Books]
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        West With the Night

      Boston: Houghton Mifflin, 1942.. First edition of the aviator's classic work. Octavo, original green cloth. Very good in a very good price-clipped dust jacket. Signed by the author. Housed in a custom quarter clamshell box.

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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