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Displayed below are some selected recent viaLibri matches for books published in 1943


      New York: Duell,Sloan, and Pearce, 1943. First Edition, INSCRIBED AND SIGNED BY STEGNER "For Jinny ...Wally". Jinny was a very personal friend of many years. She and Stegner remained in touch with one another and were close for decades. 8vo, publisher’s original rust boards, the spine lettered in gilt, in the original dustjacket. 515 pp. A fine copy but for some subtle mellowing or evidence of age to the spine tips and wear to the jacket. The jacket does have some significant chipping to the spine panel and some edgewear. A FIRST EDITION PRESENTATION COPY OF THIS VERY IMPORTANT STEGNER TITLE. THE RECIPIENT WAS A PERSONAL FRIEND OF THE AUTHOR'S FOR MANY, MANY YEARS. In every sense this is a "big" book. It was the author's big book, it was a big source book for the author's ongoing writing. It is big in the sweep of its canvas through the developing West from Nevada to Saskatchewan. It is big in its characters who, come hell and high water, never abandoned their pursuit of fat lands beyond the next range. And it is biggest of all perhaps in the stature of the major American novelist which it reveals.

      [Bookseller: Buddenbrooks, Inc.]
 1.   Check availability:     Biblio     Link/Print  

        The Spanish Secret (Underground) Newspaper “Reconquest of Spain”

      [Unknown] 1943 - The Spanish Secret (Underground) Newspaper “Reconquest of Spain”, which is being Printed in Madrid, Has Arrived in Algiers and Publishes an Appeal of the Supreme Council of the National Union, Which Has Just been Received in Mexico. 21 December 1943. 5 leaves, stapled at upper left. Very restricted mimeographic run. Approximately 1500 words, double-spaced. ** A solid, and retrospective GOOD (say, a conservative 6 on a 1-10 scale (ten being Mint)). The paper is browning and becoming brittle at the edges, but, considering the format of reproduction, this document has survived in better-than-average condition compared to other similar materials in my experience. From the estate of the Associated Press reporter in Spain during the Revolution, Alexander Uhl. WorldCat/OCLC locates 0 copies. “We are uniting to fight, to mobilize the Spanish people in the defense of its very life, to radically extirpate the foreign domination from the soil of Spain ”//“Franco in Power is the death of Spain ” This is a wartime call to Spaniards to honor their fatherland and overthrow the Nazis and Franco." ** Some examples of the Content (very powerful, persuasive, patriotic, stirring): “Spaniards! In criminal combination with the foreign master, the Cabinet of lackeys is killing Spain. It was promising great riches to the Fatherland and has subjected Spain to vassalage. It had claimed prosperity to the country and the country is in ruins " “The nation is groaning, gagged, deprived of liberty ” “ the execution squads are irrigating with Spanish blood the sacred soil of the fatherland ” “Over the gloomy background, while the victorious armies of the United Nations are opening for themselves a road to Berlin, a million Spaniards, following the footsteps of death and disgraceful infamy of the Blue Division, can be cast in the hecatomb by the criminal will which Franco has publicly invoked ” “We are uniting to fight, to mobilize the Spanish people in the defense of its very life, to radically extirpate the foreign domination from the soil of Spain ” “Franco in Power is the death of Spain ” “It is not a fight of internal tendencies, but a united attack of the entire nation in order to recover its independence and its sovereignty ” “WE are inviting publicly, solemnly, the Spaniards who profess other political creeds and most especially the Catholics of the two branches and the army, to participate with us in the Supreme Council of the National Union to overthrow Franco and the Phalange ” “No honorable Spaniard can fail the call of his Fatherland and can honor themselves by taking part in this genuine crusade of liberation which today demands unanimous national effort. No desertion will make us lower the colors ” [Attributes: First Edition; Soft Cover]

      [Bookseller: JF Ptak Science Books]
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        Gelber Chrysanthemenstrauß in brauner Vase. Ölgemälde.

      1943 - Bildgröße: 59 x 78 cm ( Höhe x Breite ), alt gerahmt ( Rahmenmaß: 73 x 92,5 cm ). Ölgemälde auf Leinwand. Unten links mit dem Pseudonym *Marinus Ottee ( für Aarnout van Gilst ) signiert und etwas undeutlich wohl mit *1943* datiert. Das Bild zeigt einen gelben Chrysanthemenstrauiß in brauner Vase, daneben eine kleine Glassschlüssel. Das Bild gering berieben, der Rahmen leicht bestoßen. ( Bitte beachten: Hier aufgrund der Größe kein Versand - hier nur Selbstabholung in meinem Ladengeschäft ) ( Pic erhältlich // webimage available )( Please notice: No shipment possible ) [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Friederichsen]
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        Historia Cuculi Canori

      1943-1949 1943 - Highly unusual, handsome manuscript of the scientific data, findings and proceedings of a small ornithology club dedicated to the collection and study of cuckoo eggs, enlivened with sixteen original watercolors of cuckoos, club members, etc. Folio, 39.5 by 29 cm. 171 leaves. (First part unpaginated, followed by 117 pp.) The club was called the Cuculus Canorus Club and was formed in 1943, with four members -- Gordon and Saxon Pagesmith and Douglas and Walter Kemp. A stated objective of the club was to present the collection it would be assembling to the Natural History Museum, and in fact, Gordon Pagesmith did make a significant contribution of bird eggs to that museum, separate from the club's collection. The club ended up collecting about 83 clutches of eggs of cuckoos and the host birds. Besides the diligent compilation of scientific data presented in the text, a source of interest is this club's eccentric rules and proceedings. One of the most entertaining watercolors is of a dinner of the club members, in which they are caricatured. This is in addition to the charming colorful portraits of the birds, their eggs, and various locations. The front cover states it is Vol. 1. Vol. 2 is included, and this manuscript is complete. Housed in a custom half red morocco box. Heavy soiling of the front cover, and some lighter soiling on just a few other leaves. Mostly clean. The manuscript's leaves are loose, with some leaves collected into loose gatherings. A few creases along the edges.

      [Bookseller: White Fox Rare Books, ABAA/ILAB]
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        Misfortunes of the Immortals.

      New York: the Black Sun Press,, March 1943. Translated by Hugh Chisholm. Quarto. Original pale green boards, spine and front cover lettered in black, large design by Ernst on front cover. With the dust jacket. Illustrated throughout, printed on both yellow and pink wove paper. The boards themselves only a little faded and rubbed at the corners, leaves browned and somewhat brittle around the margins with small chips to the occasional fore-edge, nonetheless a sound copy in good condition, with the jacket dust soiled and chipped around the extremities. First edition thus, presentation copy to Betty Parsons, limited edition of 610 copies (of which one of 110 copies were specially bound and signed by Ernst). This copy of the unsigned edition, which survives in the very scarce and fragile dust jacket, is rendered superior by being inscribed on the title page by Max Ernst to the prominent New York artist and gallerist Betty Parsons (1900-1982). From 1940 Parsons managed a contemporary art gallery in the Wakefield Bookshop,k 64 East 55th Street, using her full curatorial control to exhibit the likes of Joseph Cornell. From 1944, she moved to managed the contemporary art division of Mortimer Brandt's gallery. Then in 1946 she opened her own eponymous gallery 15 East 57th Street, Manhattan, exhibiting twelve shows a season. After Peggy Guggenheim had closed her gallery and returned to Europe in 1947, Parsons was then the only dealer willing to represent avant-garde American artists, showing the work of Abstract Expressionists such as Mark Rothko. This first English edition of Ernest & Eluard's Les malheurs des immortels (Paris 19222) was printed by the Black Sun Press and designed by Caresse Crosby, with the English translation set above the original French in the letterpress. It is one of the key works of surrealism, and the association connecting the production to New York's leading Abstract Expressionist gallerist is compelling.

      [Bookseller: Peter Harrington]
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        A Tree Grows In Brooklyn.

      New York: Harper & Brothers, 1943. First edition of the author's classic first novel. Octavo, original green cloth. Signed by the author on the front free endpaper, "Sincerely, Betty Smith Brooklyn, N.Y." An excellent example in a near fine first issue dust jacket with light rubbing and wear to the spine and extremities. Housed in a custom half morocco clamshell box. A nice copy of a novel rarely encountered signed. "Forty years before Holden Caulfield abandoned Pencey Prep to begin his ill-fated Manhattan odyssey, Francie Nolan struggled to obtain an education in the teeming tenement neighborhood of Williamsburg, Brooklyn. Francie grows up nurtured by the loving gallantries of her father, a singing waiter who drinks too much, and the rigorous austerities practiced by her brave mother, a janitress who reads to her children each night from the complete plays of Shakespeare and the 'Protestant Bible'. The book was an instant best-seller, with 300,000 copies purchased in the first six weeks. Writing in the Yale review, Orville Prescott praised A Tree Grows in Brooklyn as a 'rich and rare example of regional local color writing, filled to the scuppers with Brooklynese, Brooklyn folk-ways and Brooklyn atmosphere" (New York Public Library Books of the Century, 207).

      [Bookseller: Raptis Rare Books ]
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        Cartoon of U.S. Navy airship buffeted by the Forces of Nature.

      Akron, Ohio. Very Good. 1943. Watercolor. Count Ferdinand von Zeppelin's motto, “The forces of nature cannot be eliminated but they may be balanced one against the other" portrayed in cartoon. Slight losses at center fold and at c. ten o'clock; backing applied.; 8 .5 x 12.75 inches .

      [Bookseller: William Chrisant & Sons' Old Florida Boo]
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        10 compositionen.

      Allianz-Verlag, Zürich 1943 - Zürich, Allianz-Verlag 1943. 15x21 cm. 3 Bl. und 10 Bl. Abbildungen + 10 signierte Originalgrafiken. Bedruckte Originalbroschur. Nicht numerierte Folge der 10 Originalgrafiken auf doppelblattgrossen gefalteten Büttenbögen (27x33,5 cm) abgezogen, in der Folge numeriert und jedes Blatt signiert. XX römisch numerierte Exemplare wurden zur Vorzugsausgabe der Publikation von Leuppi von Hand abgezogen. Unser Exemplar ohne Numerierung. Dazu: eines von 80 nunerierten Exemplaren (GA 120 Exemplare) der Normalausgabe in Buchdruck. - Mit einem Vorwort von Max Bill. Sprache: N [Attributes: Soft Cover]

      [Bookseller: Daniel Thierstein]
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        Dessins: Themes et Variations

      Martin Fabiani: Paris 1943 - 101 lithographs of 158 after Matisse, each 12.75 x 9.75", some edge wear and toning but still a decent set, with "Matisse-en-France" by Louis Aragon, but without linocut frontis; in red-lettered paper folder and printed cardboard case (very worn and in three parts). LIMITED TO 950 NUMBERED SETS, this one #424 on Velin pur fil. SWAF: Missing 57 plates; here is the count as included in this set: A-6, B-7, C-8, D-10, E-13, F- 10, J-3, K-6, M-7, N-7, O-18, P-6.

      [Bookseller: John K King Used & Rare Books]
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        Ms. Brief mit eigenh. U. Pacific Palisades, 14. IV. [1943].

      1943. 4to. ½ p. An die American Philosophical Society: "I was greatly honoured by your dinner invitation for Suturday [!], April 24th. Unfortunately, I cannot attend, as I am residing in California at present [...]". - Auf Briefpapier mit gedr. Briefkopf.

      [Bookseller: Antiquariat Inlibris]
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      Mercure de France, Paris, 1943 - In-8° de 332 pages. Exemplaire personnel de l'auteur contenant l'ensemble des corrections manuscrites à apporter à une éventuelle nouvelle édition, jamais parue. On joint un certain nombre de textes manuscrits de rajouts et/ou de corrections. Exemplaire en mauvais état (dérelié) -- certainement dû à des manipulations répétées. Mériterait une reliure. En l'état :

      [Bookseller: Librairie Vent du Nord]
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        Vintage Original Photograph Signed

      , 1943. (a head and shoulders profile). 1943. 5" x 7" tipped-on a photographer's mount 10 3/4" x 8 1/2". Signed photos of Hilton are scarce and this is a fine example. Boldly signed and inscribed: "For Adele with all good wishes James Hilton October 22, 1943." Hilton (1900-1954), English novelist; several of his novels were filmed ("Lost Horizon," "Goodbye, Mr. Chips," "Random Harvest," etc.).

      [Bookseller: George Houle Rare Books & Autographs ]
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        THE STORY OF DR. WASSELL (Presentation Copy to Hollywood star Ronald Colman)

      Boston: Little, Brown, 1943. Hilton, James. THE STORY OF DR. WASSELL. Boston: Little, Brown, 1943. First Edition. PRESENTATION copy from the author to actor RONALD COLMAN (who starred in the film adaptations of two previous James Hilton novels: LOST HORIZON & RANDOM HARVEST). A Near Fine copy (spine slightly faded) in a Fine priced ($1.50) original dust jacket. The inscription on the front free endpaper reads: "For Ronny/ with all good wishes from James/April 1943." Hilton also has signed the book on the title page. Hilton and Colman were part of same close British Expatriate colony in Hollywood and were particularly good friends. The film adaptation in 1944, which tells the story of Dr. Wassell's quiet heroics in rescuing injured soldiers who had been left behind on Java during the WW2 War in the Pacific, was written by Alan LeMay ("The Searchers), directed by Cecil B. DeMille, and starred Gary Cooper in the title role. A superb association. . First Edition. Hard Cover. Near Fine/Fine.

      [Bookseller: Lakin & Marley Rare Books ]
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      - Gallimard, Paris 1943, 12x19cm, broché. - Prima edizione, una copia del servizio stampa. Autografo Precious firmata dall'autore Robert Desnos. E macchie rare luce sulla copertina, bella copia. - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires du service de presse. Précieux envoi autographe signé de l'auteur à Robert Desnos. Légères et rares piqûres sur le premier plat, agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Achter groene horren.

      Amsterdam, Veen, (1943). Ingenaaid. In groen linnen overslagdoos (Binderij Phoenix). 184 p. 1e druk. Voorzijde omslag ontbreekt. Rug en achterzijde omslag beschadigd. Binnenwerk iets roestig.* Auteursexemplaar van deze autobiografische roman met handgeschreven, gesigneerde aantekening van de auteur op de Franse titel: 'Auteursexemplaar (eerste druk)/ den Haag, April 44./ J.K. Feijlbrief.' Met potlood schreef de auteur later deze handgeschreven, in de loop der tijd wat vervaagde opdracht: 'Van den schrijver vriendschappelijk/ voor Leo van Breen. 1-IV-50/ J.K.F.'De journalist en dichter Leo van Breen (1906-1988) bezocht Van Oudshoorn weleens en correspondeerde met hem. Van Breen was ook degene die Van Oorschot ervan wist te overtuigen om Van Oudshoorns verzameld werk uit te geven. Op 11 augustus 1951 verscheen Van Breens in memoriam Van Oudshoorn in de Haagsche Post.Volgens de 'Lijst van boeken, aanwezig in de nalatenschap van J.K. Feijlbrief', opgenomen achterin de biografie van De Moor, bevond het andere auteursexemplaar van Achter groene horren zich in een schrijftafel, 'rechts beneden'.

      [Bookseller: Antiquariaat Fokas HOLTHUIS]
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        Inner Sanctum] Calling Dr. Death (Original screenplay for the 1943 film, associate producer Ben Pivar's copy)

      Universal Pictures, Universal City, CA 1943 - Draft script for the 1943 film. Copy belonging to associate producer Ben Pivar, with his ownership name in holograph pencil on the front wrapper. First film in the "Inner Sanctum" series. Universal struck a deal with publishers Simon and Schuster in 1943, obtaining screen rights to their "Inner Sanctum" mysteries, set to star Lon Chaney, Jr. (fresh off his classic monster roles), and this film marked the first installment. Ben Pivar purchased freelance writer Edward Dein's original screenplay, and selected Reginald Le Borg to direct. The film would set the standard for the series, including the introductory sequence of a crystal ball gazer who warns the audience of impending, albeit cinematic, doom, and the recurrent "stream of consciousness" voiceover. Chaney is neurologist Mark Steele, married to a beautiful and unfaithful wife Maria (Ames). Distraught over his wife's infidelity, he suffers a blackout, only to wake up to interrogators (Naish) questioning him about his wife's murder. He believes he may have been the murderer, until he hypnotizes the despondent wife of Maria's last lover, Stella (Patricia Morison), who confesses. Gray card titled wrappers, rubber-stamped production No. 7140, dated September 2, 1943, with credits for screenwriter Dein. 108 leaves, ribbon copy typescript on onionskin stock. Pages Near Fine, wrapper Very Good bound with three gold brads. Wrapper now encapsulated in mylar.Weaver, pp. 379-384. [Attributes: Soft Cover]

      [Bookseller: Royal Books, Inc., ABAA]
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        L'oncle Henri.

      Paris, Gallimard, 1943.In-12 de 123-[6]p., plein box gris mastic, décor gris façon craquelure, sur les plats et répété au dos, tête dorée, couvertures et dos conservés. Tiré à 3213 ex., celui-ci (1917) est un des 3200 sur papier de châtaignier. Libraire à Cannes, Leroux dessinait des décors pour ses livres que son épouse reliait. Henri Creuzevault qui remarqua son travail, lui conseilla de se faire connaître à Paris. Encouragé par plusieurs libraires parisiens, il s'installa à Paris ou il rencontra Rose Adler en 1947, qui lui prodigua de judicieux conseils. Ce fut le point de départ d'une carrière féconde qui allait faire de lui l'un des plus grands créateurs d'art moderne en reliure. Ses succès aux expositions et chez les bibliophiles sont à la mesures de son talent et plusieurs de ses reliures ont pris place à la Bibliothèque nationale. Fléty, Dictionnaire des relieurs. Edition originale.

      [Bookseller: La Librairie Ancienne Alexandre Illi Bom]
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        Cartoon of U.S. Navy airship buffeted by the Forces of Nature.

      Akron, Ohio. Very Good. 1943. Watercolor. Count Ferdinand von Zeppelin's motto, “The forces of nature cannot be eliminated but they may be balanced one against the other" portrayed in cartoon. Slight losses at center fold and at c. ten o'clock; backing applied.; 8 .5 x 12.75 inches .

      [Bookseller: William Chrisant & Sons' Old Florida Boo]
 18.   Check availability:     ABAA     Link/Print  

        Five Go Adventuring Again.

      London: Hodder & Stoughton, 1943 - Octavo. Original pale blue cloth, spine and front cover lettered in black, plain endpapers. With the dust jacket. Neat pencilled ownership inscription on front free endpaper. Jacket a little soiled and creased, spine rolled, front cover partially sunned at head, covers a little dished, yet overall still a good copy. Colour frontispiece and illustrations throughout by Eileen Soper. First edition, first impression, of the second Famous Five adventure, following Five on a Treasure Island (1942). [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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      [Bookseller: Sydney Charles Books]
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      Methuen & Co. Ltd 1943 - First edition. 8vo. Red cloth, lettered in white and with a vignette in black, in the original pictorial dustwrapper illustrated by Lindsay Cable. A near fine copy, slight rubbing to the corners, in a very good dustwrapper, which has nicks to the corners and spine ends, a short split to the hinge of the front flap, and has the usual dustiness, but remains a complete and attractive example of an uncommon item. Line drawings by W. Lindsay Cable. The third in the St. Clare's series. A fragile war time production and most uncommon. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jonkers Rare Books]
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        The Little Prince

      Reynal & Hitchcock 1943 - First edition, first printing in first issue dust jacket. Very Good, with patch of wear to bottom corner of front cover, offsetting to endsheets and a small stain to the front paste down, pages show light reading wear and an occasional small spot, in a Very Good dust jacket with publisher's price of $2.00 intact and the Fourth Avenue address listed, with toning to spine panel, light chipping to edges, general surface wear, and rubbing along extremities (heaviest at flap folds). Presents well. [Attributes: First Edition; Hard Cover]

      [Bookseller: Burnside Rare Books]
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        EPISODIOS NACIONALES - 46 novelas - 23 volúmenes

      Librería y Casa Editorial Hernando, Madrid 1943 - 46 novelas encuadernadas en 23 volúmenes. Editadas en los años 40. En buen estado, papel limpio. Conserva el sello de Galdós. Todos los envíos peninsulares se hacen por mensajería, con entrega en domicilio. [Attributes: Hard Cover]

      [Bookseller: Libros del Reino Secreto]
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        RAFAEL "EL GALLO" - Notas para la historia de un hombre extraordinario

      Edición del autor, Sevilla 1943 - 262 pp. 14,5 x 21 cm. Cubierta algo sucia. Cubierta de Martin Maqueda. Todos los envíos peninsulares se hacen por mensajería, con entrega en domicilio. [Attributes: Soft Cover]

      [Bookseller: Libros del Reino Secreto]
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      Milan: Hoepli, 1943. FIRST EDITION. IN VERY GOOD CONDITION. Large 4to. pp. 309, (4) + 154 plates. Bound in original publisher's decorated boards, brilliantly rebacked preserving original spine. The B.H. Breslauer copy, with his penciled accession number circled and bookplate of the Bibliotheca Bibliographica Breslaueriana. THE INDISPENSIBLE SOURCE OF INFORMATION ON VENITIAN BOOK ILLUSTRATION IN THE 18TH CENTURY, a justly famous work of scholarship in which more than a thousand editions are described and illustrated with 154 full-page plates. Contains Morazzoni's historical and critical introduction. An excellent copy of the First Edition, notoriously difficult to obtain in collectible condition.

      [Bookseller: Michael Laird Rare Books LLC ]
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      Random House, New York 1943 - Minute indentation lower edge front cover. Corners very lightly worn. Small, light stain spot bottom of rear cover. Tiny brown spot bottom of title-page. Dust jacket is worn and chipped at spine and front and back folds. 1" paper loss at bottom of spine with "E: of Random House missing. Small areas of paper loss at top of spine and folds. See photos. Several closed tears repaired with archival tape. . Price of $1.00 present on front blurb. Quite a clean copy. This was Roald Dahl's first book, a story he wrote while serving in the Royal Air Force. Walt Disney bought the rights to make an animated motion picture of the story about "mythical" airplane sabotaging creatures known as "Gremlins". The project was shelved and the movie never came to fruition. The book is scarce in any condition, and ours is much better than is usually found. Size: Quarto [Attributes: First Edition; Hard Cover]

      [Bookseller: Glenn Books, ABAA, ILAB]
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        Les horribles et espouvantables faictz et prouesses du très renommé Pantagruel

      roy des Dipsodes fils du grand géant Gargantua, composé nouvellement par Maitre Alcofrybas Nasier. Orné de bois en couleurs dessinés et gravés par ANDRE' DERAIN. Paris, Albert Skira, 1943, - in-folio (cm.348x295), pp. 193, titolo silogr., frontespizio e vignetta al tit. a colori, 21 illustraz. a colori a p. pag., 122 illustraz. a colori n.t. tra cui alcuni finalini, 34 capilettera a colori. Uno dei 200 esemplari su carta normale (n.238), di una tiratura complessiva di 275 esemplari firmati dall'artista sul foglio di giustificazione. L'editore Skira, pur restando fedele al carattere Garamond, interrompe la monotonia dell'uso di un unico carattere, introducendo finalini, vignette di diversi formati, iniziali colorate. Derain, in questo suo capolavoro, dà vita con estrema facilità a paesaggi policromi, animali, grotteschi. Crea le articolazioni degli animali tramite arabeschi ornamentali, trasforma i vegetali in elementi perfettamente integrati nell'architettura tipografica. Le 179 silografie originali, intagliate alla maniera dei cartai del XV secolo, sono state dipinte con una nuova tecnica che necessita dell'intervento della mano dell'artista: le parti che compongono ciascuna silogr. sono state colorate una ad una da équipe di praticanti secondo canoni stabiliti dal pittore; ogni esemplare può considerarsi un unicum. Esemplare perfettamente conservato. Chapon, Le Peintre et le livre, p. 155-157. Rauch n.38. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Notes sur la guerre sèche. Somme, Oise - Mai Juin 1940

      - Paris, Éditions littéraires de France, 1943. (Clichy : P. Dupont ; Paris : Delahaye et Quesneville , 1944). In-folio en feuillets, couverture rempliée sous chemise illustrée à lacets, et étui illustré d'une carte géographique. 79 pages pour le texte et 29 planches hors texte en noir et en couleurs de Roger BEZOMBES gravés . Des rousseurs sur quelques planches. Les compositions de l'artiste, gravées par L MACCARD, ont été tirées par Delahaye et Quesneville à Paris. Les pochoirs sont de E Tietard, coloriste. Tirage à 350 exemplaires sur papier lana pur chiffon. Cet exemplaire, un des 29 premiers grands-papiers et portant le numéro 5, est bien complet d'un dessin original en couleurs de l'artiste avant gravure. Peu courant dans cette condition.

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        Fausto. Impresiones del gaucho Anastasio el Pollo en la representación de esta opera. Ilustraciones de Eleodoro E. Marenco.

      Buenos Aires, Peuser, 1943. - 4to. lx + [6] + 111 + [1] + 29 + [1 blank]p + [16]f. Title in red & black with embossed vignette of gaucho; 6 coloured illustrations and 74 charming vignettes of gaucho scenes by Eleodoro E. Marenco. In a rustic binding of native woods with ornamental bamboo border, signed by R. E. Barbano; front cover decorated with large traced and hand-painted figure of a gaucho in centre, and with author’s name and title carved in top and tailend. Limited deluxe edition of the main work by the gauchesco poet (first published in 1866) with a comparative commentary on previous editions by Amado Alonso and fine illustrations by Marenco. This edition is based on the original manuscript held in the collection of Martiniano Leguizamón which is reproduced in facsimile on 27 pages followed by the facsimile of the 1866 edition on 14 pages at the end. Estanislao del Campo (1834-1880), is considered one of the three poets who most profoundly expressed the spirit of the country and the people of Argentina (the others being Hilario Ascasubi and José Hernández). [Attributes: Hard Cover]

      [Bookseller: Hünersdorff Rare Books ABA ILAB]
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      Milan: Hoepli, 1943. FIRST EDITION. IN VERY GOOD CONDITION. Large 4to. pp. 309, (4) + 154 plates. Bound in original publisher's decorated boards, brilliantly rebacked preserving original spine. The B.H. Breslauer copy, with his penciled accession number circled and bookplate of the Bibliotheca Bibliographica Breslaueriana. THE INDISPENSIBLE SOURCE OF INFORMATION ON VENITIAN BOOK ILLUSTRATION IN THE 18TH CENTURY, a justly famous work of scholarship in which more than a thousand editions are described and illustrated with 154 full-page plates. Contains Morazzoni's historical and critical introduction. An excellent copy of the First Edition, notoriously difficult to obtain in collectible condition.

      [Bookseller: Michael Laird Rare Books LLC]
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        Doklad ob organizatsii nauchnoi raboty v institute fizicheskikh problem Akademii nauk SSSR // Vestnik Akademii Nauk SSSR [i.e. Report on the Organization of Scientific Work in Institute for Physical Problems of the Academy of Sciences of the USSR // Herald of the Academy of the Sciences of the USSR]

      izd-vo Akademii nauk SSSR, Moscow 1943 - Issue #6. 24 pp. 25,2?16,8 ?m. In original wrappers. Soiling and rubbings of covers, tear of the spine and p.19. Otherwise good copy. Inscribed on the front cover by Kapitsa: «Tov[arishch] Zverev look on p.13 about Narkomfin. P. Kapitsa»; Markings in text by Kapitsa. This report was read by Kapitsa on 18th of May 1943. The inscription was probably addressed to Arsenii Zverev (1900-1969), Soviet finance minister since 1938 to 1960. In 1942 he was commissioned to supervise issuance of radium and platinum to start work in the nuclear industry. Kapitsa referred to p. 13 because that fragment he dedicated to Ministry of Finance and criticized its financing of the Institute (which he founded in 1943). Pyotr Leonidovich Kapitsa (Peter Kapitza; 1894-1984), outstanding Soviet physicist. In 1978 he won the Nobel Prize in Physics «for his basic inventions and discoveries in the area of low-temperature physics»; and was also cited for his long term role as a leader in the development of this area. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Bookvica]
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        Les Horribles et Espouvantables faictz et prouesses du très renommé Pantagruel, Roy des Dipsodes fils du grand géant Gargantua, orné de bois en couleurs dessinés et gravés par ANDRE' DERAIN.

      Composé nouvellement par Maitre Alcofrybas Nasier. Paris, Albert Skira, 1943, - in-folio (mm 345x276), pp. 192, a fogli sciolti in artistica legatura in marocchino rosso scuro mosaicato, con decorazione ispirata alle illustrazioni di Derain, titolo al piatto superiore, copertina editoriale conservata; il tutto in astuccio marocchino verde. Titolo silografato in rosso e nero, con vignetta, antiporta figurato a piena pagina, 21 illustraz. a piena pag., 122 illustraz. n.t. tra cui alcuni finalini, 34 capilettera: tutte silografie originali di Andrè Derain (1880-1954), dipinte a mano in vivaci e splendidi colori. Tiratura unica di 275 esemplari complessivi impressi su magnifica carta forte "vélin d'arches". Il presente è il n. 94/275 con firma autografa a inchiostro di Derain nel colophon. L'artista interpreta con grande arte il capolavoro di Rabelais, dà vita con estrema facilità a paesaggi policromi, animali, grotteschi; crea le articolazioni degli animali tramite arabeschi ornamentali, trasforma i vegetali in elementi perfettamente integrati nell'architettura tipografica. Le silografie, intagliate alla maniera del XV secolo, sono state colorate con una nuova tecnica che necessita dell'intervento della mano dell'artista: le parti che compongono ciascuna silografia sono state colorate ad una ad una da una équipe di praticanti secondo dei canoni stabiliti dal pittore; ogni esemplare può considerarsi un unicum. L'editore Skira, pur restando fedele al Garamond, interrompe la monotonia dell'uso di un unico carattere, introducendo finalini, vignette di diversi formati, iniziali colorate. Splendido e freschissimo esemplare, perfettamente conservato. Uno dei livres d'artiste più riusciti del secolo. Chapon, Le peintre et le livre, pp.155-157. Rauch, n.38. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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      GARZANTI, MILANO 1943 - ITALIANO Dedica con firma appartenenza al frontespizio, pagine leggermente brunite dal tempo e con rara fioritura, piccolo strappo al frontespizio, coperta rigida leggermente usurata, dorso con tassello e titoli in oro e piccoli strappi al piede ed alla cima

      [Bookseller: Biblioteca di Babele]
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        Ms. Brief mit eigenh. U. ("H. Hesse"). O. O., [nach 1943].

      1943. 2 SS. 8vo. An Margarete Philips in Konstanz über sein Buch "Das Glasperlenspiel", das 1943 in Zürich erschienen war: "[...] Mein Buch, das mich fast zwölf Jahre lang begleitet und beschäftigt hat, erschien zu einer Zeit, wo für dergleichen kein Raum auf Erden ist: ich will nicht davon reden, daß ich es ja nur verschenken konnte, und dabei verhungern kann, nein, fast überall fehlt auch die Bereitschaft und Echo, die Leute sind gehetzt, haben keine Zeit, haben das Denken, und oft auch das Fühlen verlernt, und so verdoppelt sich um mich her die Leere, die das Weggeben einer vieljährigen Arbeit ohnehin zurückläßt. Ich konnte das eigentlich voraussehen, es konnte kaum anders sein. Ich bereue es auch nicht; das Buch mußte gedruckt werden, da es sonst zu vielen Zufällen und Gefahren ausgesetzt war; jetzt existiert es, es kann nicht mehr vernichtet werden und kann mich überleben. Also ist eigentlich alles in Ordnung, und dabei wollen wir uns begnügen. Daß dasrüber hinaus einige wenige male [sic] das Buch auch in Hände fiel, die es anzufassen wissen, und in Seelen, von denen ein verstehendes Echo kommt, ist ein Geschenk [...]". - Der Briefkopf mit einer gedruckten Zeichnung von Günter Böhmer (Hesse an einem Lagerfeuer kniend).

      [Bookseller: Antiquariat Inlibris]
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        Ariane et Barbe bleue. Conte en trois actes. Pointes sèches de Clark Fay.

      Paris, Cercle Lyonnais du Livre, 1943 ; in-4 en feuilles sous couverture bleu clair rempliée, illustré du portrait de Barbe Bleue à pleine page, chemise étui bleu clair de l'édition ; 43 pointes sèches de Clark Fay, dont 7 hors-texte. Premier tirage, impression en bleu et noir sur vélin bleu pur fil des Moulins de Vidalon. Exemplaire enrichi de 8 dessins préparatoires au crayon sur calque, dans une pochette à part, et d'une des quelques suites (moins de vingt) en premier état, ici avec cinq planches en deux états, en bleu sur papier de Chine. Tirage à 130 exemplaires numérotés et nominatifs, celui-ci n° 42 imprimé pour Monsieur Mathieu Varille. Très bel exemplaire.

      [Bookseller: Librairie Ancienne Clagahé]
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        Mon dernier mot.

      Chez l’auteur à Saint Maurice d’Ételan, 14 juillet 1943. - 27 x 19,5 cm, [80 p.]. Broché, qques rouss., couv. rempliée décorée d’entrelacements colorés en rouge (certains exemplaires sont colorés en bleu). Edition originale. Tirage limité à 200 exemplaires num. sur Arches (celui-ci marqué d’un point d’interrogation au crayon rouge). Quelques rousseurs. Joint le texte de Pierre Bettencourt, « À la campagne », [1943], 1 f., 25 x 16,5 cm imprimé sur papier crème. [Attributes: First Edition; Soft Cover]

      [Bookseller: SOLSTICES RARE BOOKS]
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        Vers et Proses.

      Préface de Paul Claudel. Lettrines gravées sur bois par D. Galanis. Complet & Contrôlé. Ce livre a été tiré à 120 exemplaires sur vélin d'Arches. Celui-ci n°LXXV, nominatif. Sans lieu, Les Cent-Une - 1943 - 269 pages. Pages volantes sous couverture rempliée au titre imprimé en rouge. Chemise et étui cartonnés, titre au dos de la chemise. Pas de rousseur. Très bon état. Format in-4°(32x26).

      [Bookseller: Livres et Collections P. Commerot]
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        Mary Poppins öffnet die Tür (schwarz-weiß illustriert)

      Dressler-Verlag 1943. S. 191 Hardcover/Pappband Hardcover/Pappband, illustrierte Ausgabe, Dressler-Verlag 1943, 191 Seiten, Textteil innen überwiegend sauber und gut erhalten, Buchschnitt mit Gebrauchs-/Lesespuren, Einband aussen abgegriffen mit Gebrauchs-/Lagerspuren (intern: 55P/OCKER/Kinder- und Jugenbuch/HC-3) Mary,Poppins,öffnet,die,Tür,(schwarz-weiß,illustriert)

      [Bookseller: Lydia & Hubert Lohmaier GbR]
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        [Faux-Pas] Digressions. Jeu complet d'épreuves abondamment corrigées par l'auteur.

      S.n.. First new version of the autograph manuscript of 17 pages, written in 1935. Manuscript writing very dense, full excluding the last 13 lines of printed text, with many erasures, corrections and additions. Complete typescript with a few variations from the manuscript and a copy of the first edition published in 1947 and finally published in 1950 is attached. In 1935, Blanchot has been working for 3 years on Thomas the Obscure (he completed in 1940) when interrupts his writing "that would not stop" to write the last word, a short story he describes as "an attempt to bypass another book underway to overcome the interminable and get a more linear narrative, yet painfully complex, a silent decision ... ". In 1983, Blanchot, referring to the motivations of this "innocent text where murderers omens of future time resounded," can not say "how it is written and how unknown requirement, it has the answer." "It was not a text for publication," he says in the afterword of hindsight. The last word will indeed published 12 years later in 550 copies in the collection golden age (although it went bankrupt at the same time, the book will be on sale in 1950) . So the first story is meant at once the last word and the refusal of its unveiling. "Surely begin to write immediately to achieve at the end (...), this means at least hope not to make a career and finding the shortest path to finish early." In this "Apocalypse" Blanchot leads his own novel being written: Thomas, the hero, and is ironically called the new power otherwise without express "what happened to him [that] saying nothing happened ". But if, starting with the last word, Blanchot marks the end of writing, it is an end that remains unpublished. And when the book is finally published, it will be more of a work already substantial: Thomas the Obscure, Amminadab, Faux pas, the Most High, Death Sentence and The Share of fire. Therefore, the last word is not "waiver be Master and Judge," but a written waiver of this "itself in vain." It can no longer be "the unusual resolution to deprive [Language] to support (...) that is to say more than language" but, as part of the work, there is a "word to say and do not say. ". A word rewritten by the writer he became transformed by writing and by war. This is the inaugural version, first draft of thirty young Blanchot, we present here and C. Bident his biographer, thought "probably never know." Narrative foundation, basic writing, many scholars have studied the last man, "painfully complicated" as even the author, but who calls a few "prophetic" pages a reflection on language (and, through him, totalitarianism) marking the second part of the century. Now we present the manuscript written in 1935 and until then unknown, differs considerably from the following two versions of 1947 and 1983. Written in the third person (the later will they, homodiégétiques) the story is much longer. It contains descriptions and including many deleted scenes that will be removed in the published versions: "The sun bathed [plaza] a fiery light of huge mirrors, placed at the four corners, be kicked around in a maze of colors . "" A cloud was soon raised to the ceiling, black cloud crossed by small glowing patches. "" I am worried, he said. I was wrong to leave earlier this house when I get home, surrounded by torches are extinguished one by one. What will I find now? How to live without I guideline? Can you tell me anything? "" Some children, head blackened coal, removed the sand in which they were buried, and trying to achieve with small white stones they drew from their pocket, they reviled in their incomprehensible language. "" Taking advantage of the lull, dogs out of their hole, as if they had been secretly excited by a master, they rushed to the sleeper by pulling on their links. They tried to right, left, then discovering it under the covers, they are slipped badly, small first, then the big dog, like a vicious bunch of kids. "" The intoxication of being together having lost younger pushed them into their own home as if she had ceased to be theirs, and they threw screams waking intruders from their homes. "But this manuscript provides the exegete especially demonstrative few passages that provide clarification on the meaning of the story:" Until is not an indifferent manner to the past and the future. If it is intended to extend a veil over what approach, if a link between, by mutual repulsion, separate time moments it appears from something, something else is not shown, however, that such limit. "" They whom nothing was forbidden to speak and who knew, behaved as if their knowledge had been to break with the language. "" The disciple on this admission, redoubled adoration, give themselves shots that change them into what they can be. At first common deception, they ran, one to an animal world, the other to a riveted himself a slave. "" They wanted to laugh again nonsense, is torturing a lie, but, having no other way to stand as the apotheosis, they lost sight of their mutual desire for death and blissfully enjoyed the rest. "A key reading these valuable addition changes that reflect real shifts of the author. If the most important is, of course, the choice of the first person in later versions, some lexical variations are also very significant. Thus: "I offer the spectacle of my vices" in the manuscript and typescript 1935 becomes: "I offer the spectacle of my mistakes" in the published version of the same in 1947. "This is an extract from the speech the third city "becomes" This is an excerpt of the speech on the third on the third State "; "A noise (...) was one stroke the whole town" becomes "was one stroke all the people" and "... on a deck of onomatopoeia" becomes "... a gateway ranting." Finally, it is a lyrical Blanchot that reveals this "abrupt call of language": "She had her hair hanging these broad wings velvet are a promise of transformation." "... When the sun casting its light shining against the mirrors everywhere, stopped above the esplanade and heard this loud voice, private mysteriously vowels and consonants, which announces the sharing of spaces" "Shouts of the crowd came and brought calls for an immense distress. "" He ran on the book and bit his teeth, as if he had made insensitive despite the bitterness of those old pages. ". In hindsight Blanchot hesitate to comment, however, that this text provides for the third time and he took care to revise again, 50 years after its first release. However, it brings some bits of explanations that reveal the importance of this little story in the life and work of one of the most mysterious writers of the twentieth century: "The last word has to tell main line, as having instead, the total wreck, the narrative itself can not therefore be preserved, and impossible or absurd, unless he should claim prophetic, heralding a future in the past already there or saying there always when there is nothing: either there wearing nothing and prevent the annihilation that it can not escape its long-term process which is rehashing and eternity. " S.n. s.l. s.d. (1943) 18,5x41cm

      [Bookseller: Librairie Le Feu Follet]
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      Editions Braun sans date / Galerie d'estampes n° 6. Chemise in-4 avec une illustration de Dufy en noir. Ce choix de dessins de Dufy est le cinquième album de la collection " Galerie d'Estampes ", publiée sous la direction de George Besson. Préface de Jacques Laprade pour présenter les 30 reproductions de dessins de Dufy. Dos de la chemise avec petite fente. Bords des plats & des pages légèrements brunis. Petit trou vertical au 1er plat. Bel état général. Edition originale. Rarissime exemplaire avec envoi autographe de Raoul Dufy à son ami Nico Mazaraki ( daté du 13 mai 1943 à Perpignan ).Port gratuit pour la France ( En raison des nouvelles normes postales, les livres dont l'épaisseur dépasse les 3 cm seront expédiés obligatoirement en Colissimo avec un forfait ajouté de 5 € ) Port à la charge de l'Acheteur pour le reste du monde. Pour destinations extra-planétaire s'adresser à la NASA. Membre du Syndicat Lusitanien Amateurs Morues - Vente exclusivement par correspondance ! Le libraire ne reçoit que sur rendez-vous. Il est préférable de téléphoner avant tout déplacement.

      [Bookseller: Librairie Victor Sevilla]
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        Golf: My Life’s Work.

      London: Jonathan Cape, 1943. First edition. Octavo, original cloth. Frontispiece, illustrated. Introduction by Bernard Darwin. Fine in a very good dust jacket with some wear to the spine. Rare in the original dust jacket. John Henry "J.H." Taylor was an English professional golfer and one of the pioneers of the modern game of golf. Taylor is considered to be one of the best golfers of all time. He was also a significant golf course architect.

      [Bookseller: Raptis Rare Books]
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        Operation Citadel: The South Vol 1 The South The Battle in the South [Gebundene Ausgabe] von Jean Restayn N Moller Nicole Restayn

      Fedorowicz (J.J.),Canada, 1943. Das Buch zur Operation Zitadelle! "Citadel" was the code name designated for the German offensive at Kursk-Orel in July, 1943. This large "photo album" is actually the first of three publications. It will be followed by a similar book dealing with the battles in the northern sector and a text history of the battles. This review will consider Operation "Citadel" as a reference for modelers. Numerous black and white photographs, complemented by the color artwork, illustrate various armored vehicles in service with soldiers of the 3rd, 6th, 7th, 11th Panzer Divisions; Panzergrenadier Division Grossdeutschland, Panzer Brigade 10; Stug Battallions 911,228,905 and 1st, 2nd and 3rd SS Panzergrenadier Divisions. A few photographs and four pages of color illustrations are devoted to Soviet equipment, often shown destroyed or abandoned. A section is devoted to the T34s rebuilt and employed by Das Reich and photographs illustrate T34s in service with 6th Panzer Division. German armor modelers will find ample inspiration for dozens of modeling projects. The coded division insignia are shown on three color pages. Camouflage and markings information is mostly clear and well presented. Those with an aversion to zimmerit will enjoy this period as the authors state "impossible for a tank with a coating of Zimmerit anti-magnetic paste to appear in the battle of Kursk." A number of "new" photographs do appear. More familiar photos are more accurately captioned; for the most part. Whenever possible the authors provide unit,date and location. Presentation of the photographs range from double page spreads to five or six per page, with most two per page. A few of the photographs have been printed in better resolution elsewhere, but overall the printing is well done. As indicated by the title, this publication takes the "German" point of view regarding the Kursk campaign. The authors usually do not completely identify the vehicle by type. Generally Panzer IIIs and Panzer IVs,etc. are not further described. Readers will have to determine if they are looking at a Pz. III Ausf.J, L or M; likewise with Pz IV Ausf. G or H. Most Mark IVs shown in the photographs are Ausf. G, or at least G standard,while few photos clearly depict Mk IV Ausf H. Several color illustrations describe Mark IV as Ausf. H, although corresponding black and white photos do not support the statement. A few photos show a white or light colored recognition square, described as a unit device; there is no discussion as to whether this system may have been more widespread or not. Color illustrations include a Sdkfz. 250 Neu and a Sdkfz. 251 Ausf. D. While some of these appeared later in "Kursk" markings, their presence in July, 1943 may be questionable. (Production of Sdkfz. 251 Ausf. D did not begin until September and the Sdkfz. 250 in October) No index is provided, which is a pity as a work of this size, would welcome its inclusion. The cost of this book will be a deterrent to many potential buyers. Overall, this publication should be very usefull to German armor modellers. Hardcover, Gro?format, 460 Seiten, ?ber 700 Bilder teils auf Seiten, 48 Farbseiten -

      [Bookseller: LLU-Bookservice]
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        Paul et Virginie. Illustré de compositions en couleur par Brunelleschi.

      mb. edition numerote. Éditeur : Francis Guillot. Date d'édition : 1943. In-4, en feuilles, dans sa chemise et étui, 169 pages. 18 compositions en couleurs, 12 hors-texte, 3 bandeaux et 3 lettrines. coloriées au pochoir par Vairel. photo possible

      [Bookseller: Librairie Cella]
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        Original Photo. 5 fotografías de Gustav Thorlichen. Ponta Delgada, Portugal 1943

      - Conjunto de 5 fotografías originales de Gustav Thorlichen. Vistas de Ponta Delgada, Portugal. Todas con el sello del estudio al dorso y anotación. Sello de archivo con fecha 1943. Tamaño de las fotos 24,5 x 18 Cm

      [Bookseller: Apartirdecero]
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        Short Cut to Tokyo: The Battle for the Aleutians

      New York: Charles Scribner's Sons. 1943. First. First edition. Fine in well-worn, good only dustwrapper. Nicely Inscribed by the author to the great boxing champion: "For Gene Tunney -- with sincerest personal regards. Corey Ford." .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Substantial Autograph Letter Signed Twice, 2pp on one sheet of USO stationery while onboard Transport Vessel SS Sea Porpoise, June 10, 1944. With signed transmittal envelope

      Guthrie writes to his music producer Moses Asch aboard the Merchant Marine vessel SS Sea Porpoise four days after the D-Day invasion at Normandy by the Allied forces. Rich in content about music and recording, in part, "... a big poker game is going and Cisco [Houston, singer-song writer] is fifty ahead. He is thinking of giving up the guitar and to be a slick finger gambler. Our guitars, fiddles, mandolins are fine, somewhat primed with sea water, yet they make noise. It is similar to music. " He notes the significance of D-Day and expresses optimism about the end of World War II. "Invasion Day was the best news in many years but there are even bigger days coming as we close in on Berlin...." He changes direction back to music and asks Asch about the recording business. "How's things with the records? I suppose you have enough on hand...check them very carefully and criticize them pretty close Me, I think I've got some of our nation's best where Sonny [Terry, blues and folk musician known for his blues harmonica] is there. Lots of musicians could do them better but they haven't yet. I feel we should do some ten and fifteen minute records to dish out to radio stations...If no dough at least it will be publicity...When albums or single records are ready for release I'll be glad to write some piece which I will leave with you...I would travel a half a day if need be to hear one of our records on a juke box. But hoping of course a feller won't have to travel so far...Hel, the last place on earth I expected our records to sell was upper New York State...How goes things with Burl? [likely Burl Ives, folk singer and actor]. Have you done his album a ninth time yet? How goes the world with my chief critic Mr. Tom Glazer? [folk singer and song writer]. I like Tom. I got off wrong that night when we argued. I was too tired to sing and didn't want to preach...We've found several good singers and guitar pickers...I'd still like to meet that Railroad worker that sings like Jimmy Rogers [country singer and yodeler]..." Guthrie ends noting that he has to write to his wife and baby. Rare in content on music, the recording business and contemporary folk singers. Condition: Damp stain along one fold on text on both sides, writing is legible; envelope also bears damp stain and easily legible. To avoid being drafted into the Army as a soldier, Woody Guthrie, along with his friends and fellow folk musicians Cisco Houston and Jimmy Longhi, joined the Merchant Marines in 1943. In 1944, they were aboard the Sea Porpoise which took troops across the Atlantic for the D-Day Invasion. The ship was torpedoed off Utah Beach on July 5, 1944, but was able to get to Britain to be repaired. Guthrie returned to the U.S. later in July of 1944. [See: Ronald D. Cohen, Woody Guthrie: Writing America's Song.] Guthrie writes, in this letter, "Invasion Day was the best news in many years…." The postmark and address on the letter require some explanation. This letter is postmarked Belfast, 15 June 1944. After D-Day the ship was sent to Newcastle for repair, but before D-Day the ship was in Liverpool, then Belfast before heading down to Normandy for the invasion. This letter was written and sent after the invasion, but nevertheless postmarked Belfast.   Wikipedia reports that Guthrie married and moved to Mermaid Avenue after his discharge in 1945 from the US Army, but this 1944 letter notes a return address of Mermaid Avenue in Coney Island, clearly earlier. His wife might have been there before his arrival home, and that is where he planned to live upon his return.   While Guthrie was home in New York at one point during his time in the Merchant Marines, he met Moses Asch, to whom he wrote our letter. According to Karen Mueller Coombs in her Woody Guthrie: America's Folk singer, "Beginning on April 16, 1944, Woody - joined off and on by Cisco Houston, Sonny Terry, Leadbelly, and Alan Lomax's sister, Bess - recorded one hundred thirty-two songs for Asch. During the last session, Woody threw in This Land Is Your Land, probably the first time he had sung it since writing it in his New York hotel room four years earlier."   Guthrie writes this letter to Moses Asch, and to all in the studio starting his letter, "Hello folks," a short time after meeting them and recording with them. All of the people he mentions in the letter, Sonny Terry, Burl Ives, Tom Glazer, each recorded with Asch. Guthrie collaborated with many of them on recordings for Asch and his Folkways Records (Asch from 1939-1947, then Folkways). He recorded with Sonny Terry and Brownie McGee on a number of songs as well as Cisco Houston alone and with Sonny Terry.   Burl Ives sang with the Almanac Players at times and in 1944 recorded with Asch, but later went to Decca and Columbia. The Almanac Players were a loose knit group who performed anti-fascist and folk songs in New York. All of these people and more performed at various times with the Almanac Players, including Tom Glazer.

      [Bookseller: Schulson Autographs]
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        [Large Scrapbook Archive of Undergarment Packaging Samples from Consolidated Lithographing Corporation]

      Brooklyn, NY: Consolidated Lithographing Corp., [1943-1958]. Hardcover. Near fine. Elephant folio. Grey cloth screw-bound boards. Measuring approximately 24" x 16.5" containing 350+ color lithographed and chromolithographed paper packaging elements in a wide variety of sizes adhesive mounted recto and verso to 38 paper leaves. Additional 65 leaves blank. Top board stamped "Consolidated Lithographing Corporation." Pencil notations recording catalog numbers and dates throughout. Mild handling wear to exterior. Penned notation to cover notes "Set 5, Book 5." Likely one volume from larger company archive. Contents clean, well preserved, and apparently complete. Near fine overall. An enormous scrapbook of chronologically-arranged printing samples from the Consolidated Lithographing Corporation of Brooklyn, preserving the company's packaging work for the undergarment industry. Labels include bands, tags, wraps and labels from predominantly women's products: stockings, hosiery, lingerie, bras, panties, and the like. Men's and children's products also represented, however (socks, undershirts, etc.). The printing processes evident in the samples evolve from chromolithography to color lithography to photo mechanical in the later examples - all vivid and exhibiting elegant postwar design. Hundreds of brands and products in total: Regent Hosiery, Artemis Underthings, Treo Undergaments, Spick and Span Hosiery, Lowenstein Fabrics, Sport-Wear, The Lone Ranger and Superman Branded Socks, among many others. Consolidated Lithographing Corporation was founded by Jacob A. Voice around 1925 and operated as one of the finest and most prolific American commercial printers of the era, specializing in cigar labels, dust jackets (for Doubleday), liquor labels, garment packaging and more. This rich archive, likely containing the only extant examples of numerous works, offers numerous worthy avenues for future study: from commercial printing methods to mid-century design and marketing.

      [Bookseller: Brian Cassidy, Bookseller]
 47.   Check availability:     Biblio     Link/Print  

        Poète (Le) rustique. Illustrations en couleurs de Madeleine Luka, gravées sur bois par Théo Schmied.

      Paris, Blaizot, 1943 ; in-4, en feuilles sous couverture crème à rabats illustrée en couleurs, chemise-étui de l'éditeur ; 192 pp. et en tout vignette de titre et couverture, frontispice et grand faux-titre, 52 dessins in-texte, 51 lettrines en couleurs, 25 décors monochromes. Premier livre illustré par Madeleine Luka. Tirage à 200 exemplaires tous sur vélin de Rives (N°47). Bel état pour cet ouvrage abondamment illustré.

      [Bookseller: Librairie Ancienne Clagahé]
 48.   Check availability:     Livre-rare-book     Link/Print  


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