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

        The Lady in the Lake

      NY: Alfred A. Knopf, 1943. hardcover. G/G 1st edition, 1st printing. Book has missing 1/8 inch at spine ends, board edges rubbed through cloth, mottled green board, blue residure on pastedowns and erasures on half-title page. Jacket has 1/2 inch trimmed from bottom edges, chipping at top of spine, abrasion on flap versos (were glued to pastedowns) and remnants of old style dj cover on edges. We offer a LIFETIME GUARANTEE. See KHBOOKS for details.

      [Bookseller: Ken Hebenstreit, Bookseller]
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      Paris: Le Vasseur & Cie, 1943. Paperback. Orig. printed stiff wrappers. Fine in slightly nicked slipcases. 2 vols./No Dust Jacket. Icart, Louis. 249 & 166 pages. 24 x 18 cm. Twenty-four tinted watercolors (aquarelles) by Louis Icart with two additional suites: one in color and one in black and white printed on Velin D'Arches paper in a Limited Edition, copy 265 of 400. Translation by Gerard de Nerval and printed by Draeger Freres. Another of many sterling book art publications printed in Paris during the German occupation. This copy a brilliant exemplar, printed in red and black, extremely clean and bright with cover glassine over wrappers almost as new.

      [Bookseller: Royoung bookseller, Inc.]
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        HERE IS YOUR WAR. Inscribed

      New York: Henry Holt and Company, 1943 The Pyle/Steinbeck Presentation Copy. New York: Henry Holt and Company, [1943]. A likely first edition but a possible candidate for a variant binding with an undated title page & no further printings mentioned on the verso, neither of which are actually called for. 8vo, 304pp., tan cloth, black titles. A wartime production of uncertain bibliography with binding variants frequently encountered; teal boards with silver titling, green cloth with black titling, burgundy cloth with silver titling. Regardless, this is one of Pyle's own copies of this WWII classic, inscribed by one great war correspondent, Pulitzer winner & great friend to another on the front free endpaper: "To Gwyn & John Steinbeck - / Alright goddamit, since you wouldn't ask / for one, here's one anyway - personally, I / think its wonderful! / Ernie Pyle" An extraordinary copy in very good condition with some professional repair to the spine ends, contents clean, dust jacket with original $3.00 price, showing modest use with small loss at the crown & heel. [In later printings, the excerpt by Malcolm Bingay on the rear flap was replaced by a blurb by Steinbeck]. Custom Clamshell Collector's Case with a beautiful wood cut style blind emboss of the famous Pyle dust jacket illustration. Ernie Pyle's moving first-hand reportage as a roving war correspondent for Scripps-Howard, of the plight of WWII American G.I.'s fighting Germans in North Africa. Pyle followed the American troops from England through the campaign in Tunisia, the Allies first great victory. "There are really two wars and they haven't much to do with each other. There is the war of maps and logistics, of campaigns, of ballistics, armies, divisions and regiments--and that is General [George] Marshall's war. - Then there is the war of the homesick, weary, funny, violent, common men who wash their socks in their helmets, complain about the food, whistle at the Arab girls, or any girls for that matter, and bring themselves through as dirty a business as the world has ever seen and do it with humor and dignity and courage--and that is Ernie Pyle's war." - John Steinbeck, TIME. Signed by Author. 1st Edition. Illus. by Carol Johnson.

      [Bookseller: TBCL The Book Collector's Library]
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      London: Constable and Company Ltd., 1943 and 1944. First Edition. Letter. Very Good to Near Fine in a custom slipcase. Laurence A246 for the printed book. This collection, all housed in a green cloth chemise within a half green morocco slipcase gilt-lettered on the spine and front cover, consists of seven items related to the book: a single page typed Manuscript Revised Contents Table dated 21 August 1943 with several corrections in Shaw's hand numbering about 30 words; three examples of proof pages for the title page with simple corrections by Shaw including the elimination of "Machiavelli Modernized" from the title (noted by Laurence as being eliminated by Shaw in the final page-proof); and three AUTOGRAPH LETTERS SIGNED by Shaw with his initials (two on postcards and one on both sides of a small sheet of paper), one letter in Pitman's Shorthand (with a typed transcript), all to John Wardrop regarding proofs and the index for the book as well as Shaw's wife's illness. Some excerpts: "I always sign G. Bernard Shaw, and my professional name is Bernard Shaw without the George, which I loathe." "I am putting the book together fast, and hope soon to send you the final revise in chapters and indexable. It has been a devil of a job, and has cost me a play or two or perhaps three." "At your age I undertook an index to the works of Thomas Lodge for an Elizabethan Society. Being inexperienced and conscientious I did not know when to stop." Though there is no evidence of ownership, these items came from the collection of Harold Ackert.

      [Bookseller: Charles Agvent]
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        Le Petit Prince

      New York: Reynal & Hitchcock,, 1943. Quarto. Titles and pictorial design to spine and upper board in brown. With the dust jacket. Intermittent spotting to edges of contents. An excellent copy in the lightly rubbed jacket with a touch of creasing at the head of the toned spine panel. An excellent copy. First edition in French, first printing, contemporaneous with the first English edition. The original manuscript was in the author's native French, but it was both written and published in America, the English and French editions appearing in April 1943, perhaps simultaneously.

      [Bookseller: Peter Harrington]
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        Le Petit Prince / Avec Dessins Par L'Auteur

      New York : Reynal & Hitchcock, 1943. The 1st Edition. Physical desc. : 91 p. : ill. ; 23 cm. Subject: French fiction - Juvenile. Fine copy (cloth covered boards) in a good if somewhat edge-torn (with some loss) and dust-toned dw, now mylar-sleeved. Remains quite well-preserved overall; tight, bright, clean and strong. Scans and additional bibliographic detail on request.

      [Bookseller: MW Books Ltd.]
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        Henri MATISSE: Dessins. Themes et Variations

      Paris: Martin Fabiani, 1943, one of 20 copies on Japon paper, signed by Henri Matisse on the justification page. The complete book with an original linocut by Matisse as frontispiece + 3 small original text lithographs + 158 lithographically reproduced plates of Matisse drawings, all signed, numbered and dated in facsimile (in the plate); preceded by a short introductory text by Aragon and a poem by Tzara (in French). The book is lacking plate P3 but has th eplate H8 in duplicate (a publisher's error). All sheets loose, as issued, housed in a wrapper folder and boards portfolio with ties; internally excellent; the paper flaps of the portfolio and external joints with very minor imperfections. A beautiful production and excellent reference considering the flood of fake drawings and prints by Matisse in the current world markets and especially ; on many occasions these facsimile plates were sold as original drawings by Matisse. Very scarce in the complete state, especially in the deluxe edition. References: Duthuit 9; Monod 7847.

      [Bookseller: Gemini Fine Books & Arts, Ltd.]
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        Dessins Themes et Variations

      Fabiani Paris 1943. First Edition. Hardback. Fine/No Jacket. no. 45 of 950 copies on Velin pur fil, linocut frontispiece and plates after drawings by Matisse, very slightly browned at edges (see photos), loose as issued in original cloth-backed board portfolio with ties. A Fine copy. 4to, Paris, Martin Fabiani, 1943. Price includes insured worldwide shipping

      [Bookseller: finecopy]
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        L'homme à cheval

      Paris : Gallimard, 1943. Broché. 12x19cm. Edition originale, un des 13 exemplaires numérotés sur pur fil, tirage de tête. Très rare et agréable exemplaire. - Gallimard, Paris _1943, 12x19cm, broché. - broché

      [Bookseller: Librairie Le Feu Follet]
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        THEY SHALL NOT HAVE ME [ils ne m'auront pas!]. SIGNED

      New York: E.P. Dutton, 1943 Extraordinary Association Copy. Inscribed To Dorothea Tanning & Helion's longtime friend, Max Ernst. First edition. Inscribed, signed & dated NYC '45 by Helion on free endpaper. Tanning was an American Surrealist painter/sculptor. Ernst, a German painter & one of the founders of surrealism. The two were married in 1946. Helion was a French abstract painter who was taken prisoner by the Nazis & sent to a camp in Pomerania & then Stettin. He escaped to freedom in 1942. A very good or better copy in a moderately worn example of the uncommon dustwrapper. A finer Association copy is unlikely.. Signed by Author(s). 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        This Happy Breed

      London: William Heinemann,, 1943. A Play in Three Acts. Octavo. Original blue cloth, titles to spine gilt. With the dust jacket. A fine copy in lightly nicked and marked dust jacket. First edition, first impression. The inscribed dedication copy with the author's presentation inscription to the front free endpaper, "For Binkie, With my love Noël, See Dedication dear Hugh". Though dedicated to Hugh "Binkie" Beaumont (1908-1973), the presiding genius behind the firm of H. M. Tennent Ltd, the theatrical management team which reigned supreme over London's West End for the middle decades of the twentieth century, Coward actually produced this play himself, having previously co-produced the filmed version. Beamont's bookplate pasted in on the half title.

      [Bookseller: Peter Harrington]
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      1943-44. Etching, soft ground etching and dry point on cream wove paper. Number 14 from an edition of 50. Titled, annotated and signed by the artist in pencil and signed in the plate. Excellent condition. 9 x 12 inches. 10 15/16 x 14 3/4 inches. A finely rendered landscape by one of the key figures of late American Impressionism. Born in North Manchester, Indiana, the painter and printmaker Daniel Garber was one of the most prominent and innovative members of the Pennsylvania School of Impressionism, a group of painters based in New Hope, Pennsylvania that depicted the picturesque landscapes of Bucks County, Pennsylvania. The group included Edward Willis Redfield, Walter Elmer Schofield, and John Fulton Folinsbee. After training at the Art Academy of Cincinnati with Frank Duveneck, Gerber studied with J. Alden Weir and Thomas Anschutz at the Pennsylvania Academy, which awarded him a grant to study abroad in 1905. Two years later, he returned to Pennsylvania, where he set up a studio in Lumbersville, Bucks County and became an active figure in the New Hope art community. Garber's oeuvre includes several figure paintings and innumerable landscapes, the most famous of which is a series of works of the quarries in Byram, New Jersey from 1917. During his career, he painted in two distinct styles. His impressionistic works, which he began painting in England during his fellowship, are characterized by an avid attention to detail and shape. He later developed a more romantic, lyrical style that is distinguishable by its more decorative nature and a concern with the atmospheric effects created by nuances of light and shadow. Garber exhibited at several venues including the National Academy of Design and the Woodmere Art Museum and became a tremendously influential and much loved teacher at his alma mater, the Pennsylvania Academy, in 1919.

      [Bookseller: Donald Heald Rare Books]
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        [Autographes d'exception] Haut mal

      Paris : Gallimard, 1943. relié. 14x19,5cm. Edition originale, un des 2200 ex sur châtaignier, seul tirage avec 550 cartonnage Bonet. Reliure en demi maroquin noisette, dos lisse, plats recouverts de papier à motifs décoratifs floraux, gardes et contreplats de papier chocolat, couvertures conservées, tête dorée, reliure signée de Laurenchet. Précieux et bel envoi de l'auteur à Maria Casarès. Bel exemplaire agréablement établi. - Gallimard, Paris _1943, 14x19,5cm, relié. - Autographes d'exception relié

      [Bookseller: Librairie Le Feu Follet]
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        An archive of script material relating to SINCE YOU WENT AWAY

      [Culver City]: Selznick International Picture / Vanguard Films, 9 April 1943 through March 1949.. Nine volumes. Quarto. Eight items mimeographed typescript, printed on rectos only, one item pictorial wrappers. Modest use to a few wrappers, a bit of rust to a few brads, but generally very good to near fine. An interesting lot of material relating to Selznick's 1944 multi-award nominated film adaptation of, and elaboration on, Wilder's epistolary novel about the Home Front, SINCE YOU WENT AWAY: LETTERS TO A SOLDIER FROM HIS WIFE. The film was directed by John Cromwell and Selznick, and starred Claudette Colbert, Jennifer Jones, Joseph Cotten, Shirley Temple, Monty Woolley, Lionel Barrymore and an enormous supporting cast. As originally released in 1944, the film had a running time of 172 minutes; it was recut and re-released in 1949 with a running time of 130 minutes. This archive traces both the original version and the abbreviated version, and includes the following items: a) SINCE YOU WENT AWAY PART II. 9 April 1943, 82 leaves, a portion of an abstract or synopsis of the book evidently for use by the writer; b) a "Narrative Synopsis of Screenplay," 7 September 1943, [1],58 leaves; c) a doorstop of a"Final Shooting Script," 9 September 1943 - January 1944, credited to Jeffrey Daniel - a nome de plume for Selznick which he finally rejected in favor of "By the Producer" - an astonishing [2],290 leaves, plus lettered inserts, and exhibiting a rainbow of mimeo, carbon and original typescript dated revises on colored stocks at a virtual 1:1 ratio to unrevised leaves; d) 28 leaves of "Retakes / Added Scenes / Wild Lines," 12 April 1944; e & f) "Cutting Continuity" and "Dialogue Continuity" for "Foreign Version, both 20 September 1946, foliated in reel format; g) a "Dialogue & Cutting Continuity," March 1949, clearly the recut version; h) a "Spotting List for Recut Version," 22 August 1949, [2],62 leaves; and finally, i) a copy of the illustrated souvenir program for the original release. At the time, the film was the longest and most expensive Selznick production since GWTW, a project that he took as a personal contribution to the war effort.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Ike in 1943: "Our victory is assured

      Amidst the brutal Italian campaign, Eisenhower says that the spirit of Americans will make the difference& & Dwight D. Eisenhower was promoted four-star general in February 1943 and served as the Allied commander for all the major operations in the Mediterranean theatre throughout that year. After victory in the North Africa campaign, he made his main headquarters in Algiers, to which place most of his mail was forwarded. He also spent time in more forward positions, both in Tunis, and after Italy was invaded, in that country. The invasion of Sicily took place in July 1943, and after it was secured, the Italian mainland was the next Allied target. On September 23, 1943, General Eisenhower took the Italian surrender aboard HMS Nelson off Malta. The German Army continued to fight ferociously in southern Italy throughout the coming months as the Allied armies moved north towards Rome. One milestone was reached when the U.S. Army marched triumphantly into Naples on October 1, 1943. & & Eisenhower was often too preoccupied with running the war to answer his mail, but when a letter touched him or he found the free time, he would. Back from the front and Malta, and amidst news of hard fighting on the road to Rome, he found a letter from a World War I veteran who wanted to do his part in this new conflict. Ike responded with a show of confidence in victory.& & Typed Letter Signed on his "Allied Force Headquarters" letterhead, October 7, 1943, to M.T. Lizner, a veteran of World War I who had written Ike about workers on the home front. "Thank you for your poem and the emblems of the "War Worker" and "Victory" that you sent me. They typify a real American, soldier of 1918 turned war worker of 1943, and one who is utilizing his every talent to win this war. That is the spirit we must have to win, and with it, our victory is assured." This is one of the strongest wartime statements from Ike on victory, and what it would take to achieve it, that we have seen. & & In December 1943, the different national units of the Mediterranean sector became a unified command, and Eisenhower was appointed its overall commander and based in England. Then in January 1944, he was appointed supreme commander of the Allied Expeditionary Forces for the Normandy landings that June.

      [Bookseller: The Raab Collection]
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        ORIGINAL pencil, crayon and watercolor illustration. Caption reads "Cheerful Cries of London" and below "the London Cries-The Milkmaid-general London Street scene of Lamb's day-'Poor drudges whom I have left behind'-Top of page 177."

      n.p, n.d, ca. early 1940s. 13-1/2 x 9 inches. . Unframed, on board . Ross illustrated Charles Lamb's The Complete Elia for the Heritage Press in 1943. Gordon Ross (1873-1946) was a prolific artist, working mostly in watercolor, from his early days in his native Scotland. As a book artist he tackled everything from Dickens to Shakespeare, including a number of titles for The Limited Editions Club. He is also noted for his sporting work, which included illustrations for The Derrydale Press, Surtees's Jorrocks Jaunts and Jolities, and several large prints of notable sportsmen, including Sir Thomas Lipton, Hugo Meynell, Peter Beckford, and Surtees himself. The eminent collector A. Edward Newton, who wrote the introduction to the Surtees edition, praised Ross in his book End Papers: "No one now living in Great Britain and doing work in his line can compare with Gordon Ross, now living in New York...He has no living superior; I doubt if he has his equal for the very quality needed to illustrate a humorous classic." A superb draftsman, with a gift for portraiture, Ross's work has an ingratiating quality of lively elegance; his originals very seldom come on the market

      [Bookseller: James Cummins Bookseller]
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        The Little Prince (Signed Limited Edition)

      New York: Reynal and Hitchcock, 1943. First Edition. First Edition. One of 525 numbered copies (this being No. 266) SIGNED by the author. Very Good in publisher's rust orange cloth, with light wear at the spine ends and a couple of corners, and a small library stamp from a charter school on the title page. Dust jacket is price-clipped, and has been professionally restored, with evidence of removal on the verso of each of the flaps. Presents quite well.

      [Bookseller: Royal Books, Inc.]
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      New York: Reynal & Hitchcock, (1943). First Edition. Hardcover. This copy is clean and bright with virtually no wear and is rather uncommon as such. About Fine, lacking the dustwrapper. Antoine de Saint-Exupery. This is copy #103 of 525 numbered copies SIGNED by the author on the tipped-in limitation page. The American edition appeared before the French or English editions, and this is the ONLY way to obtain a signed edition of this book as the author was assigned to fly with the French Free Air Force shortly before publication and went missing about a year later while on a mission. This special issue of one of the most beloved books of the twentieth century is, consequently, one of the most desired limited editions and does not come often upon the marketplace.

      [Bookseller: Charles Agvent]
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        Sharaku, A Complete Collection. Reproduction by the Adachi Institute of Woodcut Prints

      The rare 2 volumes set, complete as issued with 72 tipped in facsimile reproductions individually sleeved in protective 460 x 360 mm mats with mounted printed labels. The 55 original size color woodblock print reproductions were made from new blocks using traditional nishiki-e methods, with 36 prints including the output of Sharaku's celebrated Period I (28 okubi-e bust portraits of Kabuki actors) sumptuously done with applied powdered mica using kira-zuri technique like the Juzaburo first edition. The 17 original size b/w collotype drawing reproductions are print designs attributed to Sharaku by the author and published for the first time. The xylographic reproductions were made under the supervision of Toyohisa Adachi using examples of authentic Sharaku prints in Japanese collections. Prints and drawings are in fine condition and laid in with text pamphlets and folded illustration table leaves in the publisher's wraparound blue cloth board portfolios (maru chitsu) attached with natural bone clasps, upper panels with pictorial mounted labels after Sharaku. SUMMARY: An extraordinary publishing endeavor produced in homage to Sharaku but because of expense never completed. Authentic, original Sharaku prints in excellent condition are now very rare and sell for astronomical prices. The lucid text booklets are by Teruji Yoshida and draw on years of original research. His 1943 monograph on Sharaku was the first by a Japanese scholar. CONDITION DETAIL: Facsimile Woodblock Print Reproductions: Fine. Facsimile Collotype Drawing Reproductions: Fine. Print and Drawing Labels: Fine. Mats: Volume 1: Good with top inner corner bump to all that doesn't continue to prints. Volume 2: Fine. Text booklets: Very Good. Pages: Fine. Wrappers: Nearly Fine: Upper wrapper of booklet 1 with one small spot, otherwise wrappers fine. Glassine: About Fine. Bindings: Good:  somewhat weakened and booklets need to be handled with care, but still solid. Folded Illustration Table Leaves: Good: margins with slight thumbing. Leaf 1: offset margin toning from portfolio. Leaf 2: blank rear with soiling. Portfolios: Good+: Scuffs and rubs: some bottom corner wear: Portfolio 1 with offset edge toning to interior panels. Portfolio Labels: Good: some soiling and rubs. AVAILABILITY: Rare and a worldwide catalog search outside of Japan finds 15 complete holdings, including Metropolitan Museum, Brooklyn Museum, NY Public Library, Indiana University, University Minnesota, McGill, Art Institute of Chicago, University Chicago, University Pittsburgh and University Hawaii. PORTFOLIOS: Publisher's 48 cm dark blue cloth folding portfolios, upper covers with mounted pictorial orange paper labels after drawing designs attributed to Sharaku. PAGINATION: Confirmed complete. Volume 1: folded leaf lists prints and provides publishing information; Text Booklet, viii, 77 pages with extensive notes on the prints, chapters on the history of Kabuki and a history of pictures of Kabuki actors, pp 71-77, essay by Ichitaro Kondo titled, "The Art of Toshusai Sharaku"; 40 polychrome woodblock prints. PRINTS IN VOLUME 1: 1) Complete set of 28 half-length figure prints (okubi-e) of Kabuki actors from Period I with applied dark ground mica, (kira-zuri), as in the original prints commissioned by Tsutaya Juzaburo. Mica with a black sheen was used for Sharaku prints until a sumptuary edict by the Tokugawa Shogunate outlawed its use. Sharaku subsequently designed prints that called for red ground mica. 2) Complete set with applied red mica of 8 full-length figure prints (hosoban) of Kabuki actors, including the 7 known prints with 2 full-length figures from the equally esteemed Period II. 3) 4 prints of the young Sumo wrestler, Daidozan, 3 from Period III + sole oban print from Period IV. Volume 2: folded leaf lists prints & drawings and provides publishing information; Text Booklet, (4), 52 pages with extensive notes on the prints, the history of Sumo wrestling, history of pictures of Sumo wrestlers, history of references to Sharaku, and a study of attributions for drawings; 15 polychrome woodblock prints + 17 collotype reproductions of brush drawing designs. PRINTS IN VOLUME 2: 1) 12 actor prints with yellow ground from Period III. 2) The only 2 prints of historical subjects from Period III. 3) Earliest sumo wrestler print of Daidozan, at age 7, discovered in 1955 and identified by author (dated from Period II). DRAWING DESIGNS: 17 designs attributed to Sharaku by Yoshida, (attribution controversial), 8 of actors dated to Period II, and 9 of Sumo wrestlers dated to Period IV. ADACHI INSTITUTE: established in 1928 by Toyohisa Adachi in Nishi-Sugamo, Tokyo to reproduce with exacting care in the original woodblock print format rare ukiyo-e prints. ADDITIONAL IMAGES: by request.

      [Bookseller: Steven Waldman]
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        Four Quartets

      New York: Harcourt, Brace and Company,, 1943. Octavo. Original black cloth, titles to spine gilt. With the dust jacket. Contents a little toned and with the occasional spot, spine lettering dull but a very good copy in the tanned and lightly chipped dust jacket. First collected edition, first impression with the slug "First American Edition" to the verso of the title page. In the first issue dust jacket with nine titles on the lower panel and $2.00 price to the front flap. This printing was recalled by the publishers after only 788 copies had been distributed on the grounds that the printing was below acceptable standards.

      [Bookseller: Peter Harrington]
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        Four Quartets (First Edition)

      New York: Harcourt, Brace, 1943. First American Edition, first printing, preceding the British. First issue, with a price of $2.00 on the front flap of the jacket and nine titles advertised on the rear panel of same. "The entire impression would have been destroyed except that it was necessary to meet the announced publication date (May 11, 1943) in order to preserve copyright" (Gallup A43a). Only 788 copies were used as advance review copies, with the remainder of the print run destroyed. Bookplate on the front pastedown, else Fine in an extremely fresh, Fine dust jacket.

      [Bookseller: Royal Books, Inc.]
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      New York: Harcourt, [1943].. Cloth. Generic bookplate on front free endsheet, but a very good or better copy, in moderately tanned first printing dust jacket with three shallow chips and a short, closed edge-tear. First impression of the first U.S. edition, and first collected edition. Due to poor imposition of the formes during printing, the first impression was deemed faulty and only 788 copies were distributed in order to fulfill copyright and other obligations; the remaining 3377 copies were destroyed. A second, prepublication impression consisting of 3500 copies was ordered, and copies of that impression saw regular distribution. GALLUP A43a. MODERN MOVEMENT 92.

      [Bookseller: William Reese Company - Literature ABAA-]
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        New Poems

      The Poets of the Year, New Directions, Norfolk, Conn.,, 1943. Octavo. Original purple wrappers printed in black. Minor flaw to the lower margin of two leaves but an excellent copy. First Edition, First Printing, wrapper issue. With the author's signed presentation inscription to the half title leaf, "for Elmer Borklund from Dylan Thomas Chicago 1950". Borklund was a Chicago based academic and author.

      [Bookseller: Peter Harrington]
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      Paris: Editions Rombaldi, (1943-47). Fine, quite beautifully produced. Each volume numbered from limitations ranging from 910 to 990 copies Eight volumes containing seven titles from the collection. Uniformly bound in maroon crushed morocco, t.e.g., the spines with gilt titles and overall stylized crosshatched gilt designs. Original wrappers bound in & Titles: & La Varende. Man' D'Arc. Illus. by Guy Arnoux in color pochoir throughout the text.& Rostand. Chantecler. Original lithographs by Maurice Mourlot throughout the text.& Goncourt. La Fille Elisa. Original etchings by Etienne Bouchaud.& Maupassant. Contes de la Campagne. "Eaux-fortes originales" by Maurice Savin.& Pergaud. De Goupil a Margot. Color illustrations by Pierre Gandon.& Toulet. Les Tendres Manages. Aquarelles by Jean Moral.& Rebell. La Nichina. (2 vols.). "Burins Originaux" by Pierre Dubreuil.& & & &

      [Bookseller: First Folio]
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      [Los Angeles: Universal Pictures], 15 December 1943.. [1],115 leaves. Quarto. Mimeographed typescript, printed on rectos only of rose colored stock. Punched, and held by single brad. Title leaf a bit creased, production number stamp and pencil name on title leaf, otherwise very good. An unspecified, but pre-production draft (under the working title) of the screenplay for this addition to the Universal Holmes/Watson film canon. While the authorship is not evident on this draft, the writers identified above -- which include the film's director -- received final screen credit. The film directed by Roy William Neel, starred Basil Rathbone and Nigel Bruce, and was released on in May 1944. The contemporary setting served as a tribute to Canada's contribution to the war effort. Script material relating to any of the pre-1950 Holmes films is uncommon. Although well over one hundred and fifty adaptations of Sherlock Holmes to the screen are known, beginning with SHERLOCK HOLMES BAFFLED (1903), the Rathbone-Bruce portrayals have become almost canonical, beginning with THE HOUND OF THE BASKERVILLES (March 1939), and concluding with the twelfth in sequence, DRESSED TO KILL (1946). DE WAAL 5153.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Des Gouts et des Couleurs

      Paris: Edition de la Galerie Charpentier, 1943. First edition. Loose signatures in paper wrappers in portfolio. Small tear to heel of spine of paper wrappers, attached glassine wrappers a bit soiled with a small tear, in a worn paper- covered card portfolio with some splits at the joints, but quite solid. Folio. Illus. with 14 [of 15] watercolors and 24 [of 27] drawings. Plus one original drawing laid in. One of 23 copies with an original drawing (14 had original watercolors) of a run of 1042. Lacking one folded leaf (of four pages) containing one watercolor and three drawings. Andre Dignimont (1891-1965) was a French painter, draftsman, decorator, and book illustrator, perhaps most famous as the last, having illustrated the works of Colette, P. Louys, Margaret Mitchell, and many others. Scarce even lacking the plate. OCLC and RLIN show only one copy and the BN, 3.

      [Bookseller: Kaaterskill Books, ABAA/ILAB]
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        CALDER. Signed

      New York: MUSEUM OF MODERN ART, 1943 A rare publication as the MOMA intended print run was curtailed due to war time restrictions of paper. A fine example in dustwrapper which has been gingerly restored. Warmly inscribed by Calder on the title page in blue fountain pen & dated 3 Feb 1952. Very Uncommon.. Signed by Author. 1st Edition. Illus. by Alexander Calder.

      [Bookseller: TBCL The Book Collector's Library]
 27.   Check availability:     Biblio     Link/Print  

        Les Mouches. Drame en trois actes.

      (Paris), Gallimard, (1943). Bound with the original printed wrappers, also the backstrip, in a contemporary (no later than 1955) beautiful, very elegant grey half morocco binding with five raised bands and gilt title to spine (Gemet&Plumbelle). A beautiful, near mint copy.. The seminal first edition, presentation-copy for Claude Gallimard, one of 15 large paper copies, of Sartre's groundbreaking play, "The Flies", which constitutes his very first play as well as the only one he himself characterized as a "drama". The first edition appeared in 15 copies on pur fil and 525 regular copies. The 15 copies on pur fil are not numbered (presumably because the issue was so small and there were no other copies on fine paper made), but the back wrapper states ("EXEMPLAIRE SUR PUR FIL/ 60 francs"). "Gallimard, [1943]. 145 pages. 15 exemplaires pur fil et 525 exemplaires reliés Héliona dont l'achevé d'imprimer est de décembre 1942. Volume mis en vente en avril 1943." (Contat & Rybalka, p. 88).The magnificent presentation-inscription which reads as thus: "A Claude Gallimard/ en hommage amical de/ JPSartre" ("Gallimard" is vague, as someone (presumably Gallimard himself, or his family, when selling the copy) has tried to erase it, as is often done with identifiable names when trying to hide the provenance, but it is still fully legible) is for Sartre's publisher, Claude Gallimard (1914-1991), the son of Gaston Gallimard. Claude Gallimard worked in the family publishing company since 1937."The Flies" counts as Sartre's most important play as well as one of his most important works. It is a dramatical exposition of his central philosophical themes and a main exponent for his existentialism. As such it is also one of the most important plays of the 20th century. It is in 1943, with "The Flies" and with "l'Étre et le Néant" (same year) that Sartre's ideas become fully developed, and of the two, "The Flies" had, by far, the greatest impact on contemporary thought, philosophy, and literature. The work thus constitutes one of the most important and influential works of the period. Following its premiere (June 3rd 1943) in the "Théatre de la Cité" in Paris, the play was censored by the German military administration. Almost immediately after the war, the play was performed again, in Germany as well as in France. Contat & Rybalka: 43/35 (pp. 88-89)

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

        Travels in Arabia Deserta. With an Introduction by T.E. Lawrence. New and definitive edition.

      London: Jonathan Cape (1943).. Two volumes, large 8vo, 674; 696 pp. Portrait frontispiece, 8 plates and 2 folding maps. Gilt titled buckram, d.w.'s with some light soiling, very good. "[I] have grown to consider it... a bible of its kind... The book has no date and can never grow old. It is the first and indispensable work upon the Arabs of the desert..." (from Lawrence's Introduction). New and Definitive edition, first published in this format to match Lawrence's Seven Pillars of Wisdom in 1936. First published 1888, and with Lawrence's introduction 1921.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
 29.   Check availability:     UKBookworld     Link/Print  

        L'être et le néant. Essai d'ontologie phénoménologique.

      Paris, nrf, Librairie Gallimard, 1943. 8vo. Orig. printed wrappers, uncut. Traces of use. Spine darkened, and lacking small part of lower back. Wrappers a bit soiled. Minor tears to upper front hinge. Internally fine. Wrappers printed in red and blue. W. half-title. 722, (2) pp, 2ff. (one w. colophon).. The very rare first edition, first impression from "Bibliothèque des idées", printed on 25th of June 1943 ("Le vingt-cinq juin mil neuf cent quarante-trois" (colophon) ). With the printed dedication "au CASTOR" (i.e. for Simone de Beauvoir"). This, the first edition of Sartre's first and main philosophical work, which is one of the absolutely most important philosophical works of the 20th century, passed virtually unnoticed, as it appeared in the summer of 1943, which is why it is now extremely scarce. It didn't reach recognition till 1945, thus very few copies of the first edition have been preserved. "Achevé au debut de 1943, le livre parut en été et, étant donné les circonstances, passa à peu près inapercu. Il fallut attendre 1945, année aù la vogue soudaine de Sartre attira sur son oeuvre maîtresse une attention qu'aucun ouvrage philosophique n'avait connue précédemment, pour que les commenteurs s'en ampareut;" (Contat & Rybalka p. 86). Even though the work was hardly noticed when it first appeared, a few scholars acknowledged it as a great work of seminal character, importance and novelty; in 1964 Michel Tourier writes: "Un jour de l'automme 1943, un livre tomba sur nos tables: "L'Être et le Néant". Il y eut eu moment de stupeur, puis une longue rumination. L'oeuvre était massive, hirsute, débortante, encyclopédique, superbement technique..." (Les Nouvelles littéraires, 29 octobre 1964).Sartre is first and foremost known for his philosophical works, and as "L'être et le néant" ("Being and Nothingness") is generally accepted as his greatest and main work, this marks the beginning of 20th century existentialism, and furthermore "has also come to be regarded as a text-book of existentialism itself..." (Mary Warnock's Introduction to Hazel E. Barnes' translation). This, his seminal work of existentialism, marks one of the most influential philosophical movements of our age.Contat & Rybalka, Les Écrits de Sartre, 1970

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


      1943. 1. BANNERMAN,HELEN. LITTLE BLACK SAMBO. NY: Duenewald (1943). 8vo, spiral backed pictorial boards, slight wear else near fine in chipped and slightly worn dust wrapper. A MOVEABLE SAMBO illustrated in color by JULIAN WEHR and featuring 6 really terrific moveable plates done in color. Nice copy, hard to find in the dw.

      [Bookseller: Aleph-Bet Books, Inc. ]
 31.   Check availability:     ABAA     Link/Print  


      Le Vasseur & Cie Paris: Le Vasseur & Cie, 1943. Paperback. Orig. printed stiff wrappers. Fine in slightly nicked slipcases. 2 vols./No Dust Jacket. Icart, Louis. 249 & 166 pages. 24 x 18 cm. Twenty-four tinted watercolors (aquarelles) by Louis Icart with two additional suites: one in color and one in black and white printed on Velin D'Arches paper in a Limited Edition, copy 265 of 400. Translation by Gerard de Nerval and printed by Draeger Freres. Another of many sterling book art publications printed in Paris during the German occupation. This copy a brilliant exemplar, printed in red and black, extremely clean and bright with cover glassine over wrappers almost as new.

      [Bookseller: Royoung bookseller, Inc. ]
 32.   Check availability:     ABAA     Link/Print  

        Estampas Del Popol-Vuh

      Graphic Art Publications Editores  Folio (16 ¾ x 12 ¾ inches). Gray cloth over orange printed paper boards with black lettering and decoration to top cover. Light wear to tissue guards and boards with 1 ½? smudge to lower bottom board; all ties present.As issued, ten loose original color lithographs, each with tissue guard containing text in Spanish and English, from the Popol-Vuh. In addition to the title and justification pages, two pages, one in English and one in Spanish, tell the story of the Popol-Vuh. Written in the mid-16th century, the Popol-Vuh is an account of the gods, the creation of the universe, and the mythological history of the Maya Quiche civilization. Number 831 of 1,000 copies, signed by Merida, who was born in Guatemala in 1891 and died in Mexico in 1984. He studied in Europe, was heavily influenced by Cubism and worked with important artists in Mexico including Diego Rivera. While achieving international success, Merida never forgot his Mayan ancestry, which led him to the present work. Scarce. 

      [Bookseller: The Book Block ]
 33.   Check availability:     ABAA     Link/Print  


      Duell Sloan and Pearce New York:: Duell, Sloan and Pearce,. (1943).. 8vo. 8-1/4" x 5-5/8". 1st edition. [10], 253, [1 (blank)] pp.. Red cloth binding with black spine lettering. Dust jacket.. VG+/VG (bit of chipping to spine ends).. Opened in 1854, McSorely's Old Ale House is the oldest, continuously- operated Irish pub in New York City. As a measure of its 'traditionally minded' owners, the tavern was men-only until 1970, when the National Organization for Women won a legal suit, thereby gaining admission [if not welcome]. By the time I had a beer or two there in the late 70s, the female gender had become a vital ingredient to a congenial evening imbibing amid general convivality, though McSorleys had yet to make any concession in terms of facilities- there was one... if a lady wanted to use it, she took her chances... the memory of the subsequent clapping on her exit, all the while the waiter was bringing 14 mugs of beer to the table [sans tray], is as vivid today as if I had been there just last night. . Woodcut vignette to t.p.

      [Bookseller: Tavistock Books, ABAA ]
 34.   Check availability:     ABAA     Link/Print  

        Pas paa Kornet. Snudebillerne kan drive Dem fra Hus og Hjem.

      Original farvelitograferet plakat udsendt af Kornskadedyrkomiteen og Statens Skadedyrlaboratorium, Strandvejen 740, Springforbi. Trykt hos Nornotryk A/S uden år [1943]. Ca. 100 x 62 cm. Signeret i trykket. Øverste højre hjørne ganske svagt krøllet.. Peter Michael Hornung: Plakatfuld. Side 92-93.Ualmindelig velholdt

      [Bookseller: Mandøes Antikvariat]
 35.   Check availability:     Antikvariat     Link/Print  

        Les derniers 9 dessins de Sophie Taeuber-Arp. Précédés d'une lettre de Gabrielle Buffet-Picabia.

      8°, o. P. (14 Bl.), 9 Abb., OHLwd. m. Transparent-Umschlag in Schmuckschuber., Schuber min. beschienen, OU mit winzigem Verlust am Kopf, tadellos. EA. Ex. Nr. 15 der 50 Ex. auf «hollande special» (bei einer Gesamtauflage von 250 Ex.). 9 Taf. mit Werken von S. Taeuber-Arp (1889 - 1943). Gestaltung vermutlich von Max Bill.

      [Bookseller: Antiquariat Peter Petrej]
 36.   Check availability:     Link/Print  


      1943. 1. (PEAT,FERN BISEL). CINDERELLA AND HANSEL AND GRETEL. Sandusky: American Crayon Co. (1943, Harter: 1931). There are two folio sized books, in Fine condition plus two complete color jigsaw puzzles, all in the original box. Each book has bold and brightly colored illustrations by FERN BISEL PEAT Quite a special item, scarce in complete condition with the box.

      [Bookseller: Aleph-Bet Books, Inc. ]
 37.   Check availability:     ABAA     Link/Print  

        THE MASS EXTERMINATION of JEWS in OCCUPIED POLAND. Note addressed to the Governments of the United Nations on December 10th, 1942, and other documents.

      London, New York, Melbourne (printed in Great Britain), Published on behalf of the Polish Ministry of Foreign Affairs, (1943). 8vo. Stapled as issued. Title-page printed in red and black. A light shadow to top of title-page, otherwise fine and clean, no markings whatsoever. 16 pp.. The scarce first printing of this hugely important publication, which constitutes one of the very first official reports on Holocaust and one of the most accurate accounts that had been presented to the West, changing their knowledge of what was actually going on. It is made up of 1) Raczynski's account of the ongoing Holocaust, based among other reports, on the eye-witness-report by Jan Karski, a Polish Government emissary in occupied Poland, who bribed his way into a German concentration camp and witnessed the mass extermination of Jews, 2) the seminal "Joint Declaration" by members of the United Nations, in which "The above-mentioned Govenments and the French National Committee condemn in the strongest possible terms this bestial policy of cold-blooded extermination. They declare that such events can only strengthen the resolve of all free-loving peoples to overthrow the barbarous Hitlerite tyranny. They reaffirm their solems resolution to ensure that those responsible for these crimes shall not escape retribution, and to press on with the necessary practical measures to this end." (p. 12), 3) an extract of Deputy Prime Minister Mikolajczy's statement on behalf of the Polish Government, and 4) the text of Raczynski's broadcast of December 1942, in which pleaded for action, wishing to make the public and the Allied nations "understand how real is the tragedy which is taking place not so very far from the shores of this island, on the continet of Europe - on the soil of Poland. For more than three years the Germans have consistently done everything they could to hide from the eyes of the world the martyrdom of the Polish nation, the like of which has never been known in the history of humanity. But "when we would keep silence the very stones will cry out"." (p. 15). While the details were neither complete nor wholly accurate, the Allies were aware of most of what the Germans had done to the Jews at a relatively early date. The mass murder of the Jews was of such dimensions, however, that, at first, they could not believe the reports that reached them. This quickly changed, though. In February of 1942 Jacob Grojanowski, an escaped prisoner of the Chelmno extermination camp, provided the Oneg Shabbat group with detailed information about what went on at the Chelmno camp. His report became known as the Grojanowski Report. It was smuggled out of the Warsaw Ghetto via the Polish underground and reached London in June of 1942. It is not known exactly what happened to the report at that point, but by February of 1942, the United States Office of War Information had decided not to release information about the extermination of Jews (thinking that there was a risk of the public viewing the war as only being a Jewish problem). Thus, the Grojanowski Report was not released. By at least October of 1942 British radio had broadcast news of the gassing of Jews to the Netherlands, and in December 1942, the Western Allies released their Joint Declaration [which is printed in the present publication], describing and condemning in the strongest manner Hitler's violent attempts at exterminating the Jews of Europe.In 1942 Jan Karski (1914-2000), a Polish World War II resistance movement fighter and later professor at Georgetown University gave his first report to the Polish, British, and U.S. governments on what was going on in the German extermination camps in PolandIn 1942. Karski reported to the Polish government in exile (i.e. Raczynski, who was the Ambassador and one of its most prominent leaders) and the Western Allies on the situation in German-occupied Poland. Karski personally met with Franklin Roosevelt and British Foreign Secretary Anthony Eden to explain what went on in Poland, and Raczynski wrote up the report. Eventually, the American Government confirmed the reports to Jewish leaders in late November 1942, and shortly thereafter they were publicized [i.e. in the present publication]. Karski's report (through Raczynski) became one of the most important reports in the history of the Holocaust, being a major factor in informing the West. It sparked one of the first official publications from the Allies on the mass extermination of Jews in Poland and resulted in the official reports and condemnations from the Allied countries, i.e. the "Joint Declaration" [also published here]. "The purpose of this publication is to make public the contents of the Note of December 10th, 1942, addresses by the Polish Government to the Governments of the United Nations concerning the mass extermination of Jews in the Polish territories occupied by Germany, and also other documents treating on the same subject. [...] In the hope that the civilized worlds will draw the appropriate conclusions, the Polish Government desire to bring to the notice of the public, by means of the present White Paper, these renewed German efforts at mass extermination, with the employment of fresh horrifying methods." (From the Introductory Note, p. 3). "Most recent reports present a horrifying picture of the position to which the Jews in Poland have been reduced. The new methods of mass slaughter applied during the last few months confirm the fact that the German autorities aim with systematic deliberation at the total extermination of the Jewsih population of Poland and of the many thousands of Jewswhom the German authorities have deported to Poland from Western and Central European countries and from the German Reich itself.The Polish Government consider it their duty to bring to the knowledge of the governments of all civilized countries the following fully authentical information received from Poland during recent weeks, which indicates all too plainly the new methods of extermination adopted by the German authorities." (p. 4)

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

        [Screenplay]: Heaven Can Wait

      20th Century Fox (New York): 20th Century Fox. July 7, 1943. Continuity and Dialogue Script Taken from the Screen. Mimeographed sheets bradbound in blue stiff wrappers. About fine. Stamped "Received New York Legal Department Jul. 19 1943." Apparently prepared for the legal department to review, and dated just one month before the film was released. The Ernst Lubitsch-directed classic, highlighed by Raphaelson's witty script, featured Don Ameche as a would-be sinner not quite bad enough to get into Hell on his deathbed, and Gene Tierney as his long-suffering love. Both Lubitsch, cinematographer Edward Cronjager, and the film itself were nominated for Oscars. Very scarce. Ex-Carter Burden. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 39.   Check availability:     ABAA     Link/Print  

        L'être et le néant. Essai d'ontologie phénoménologique.

      Paris, nrf, Librairie Gallimard, (1943). Lex8vo. Bound uncut with the original printed wrappers, also the backstrip (lightly mounted), in a magnificent elegant and artistic dark purple-brown morocco binding with author and title in gilt lettering and single gilt lines to spine, creating six compartments, five of which with grey and red exquisite calf inlays, in alternating stripes, creating 9 stripes in each compartment, mirroring each other. Exquisite marbled paper (brown, red, blue, purple tones) to boards, filling out most of the boards. Top edge gilt. Gilt super-ex-libris to inside of front board. Housed in a marbled paper slip-case (same paper as on boards) with purple-brown morocco edges. Binding signed to bottom of inside of front board: "C. et J-P. Miguet". A magnificent, clean and fresh copy. 722, (4, -Table + colophon).. Magnificent presentation-copy, for Henri-Georges Clouzot, of the very rare first edition, first impression from "Bibliothèque des idées", review-copy ("S.P." on title-page and back wrapper), printed on 25th of June 1943 ("Le vingt-cinq juin mil neuf cent quarante-trois" (colophon) ), with the printed dedication "au CASTOR" (i.e. for Simone de Beauvoir"). This, the first edition of Sartre's first and main philosophical work, which is one of the absolutely most important philosophical works of the 20th century, passed virtually unnoticed as it appeared in the summer of 1943 and is now very scarce. It didn't reach recognition until 1945, thus very few copies of the first edition have been preserved. "Achevé au debut de 1943, le livre parut en été et, étant donné les circonstances, passa à peu près inapercu. Il fallut attendre 1945, année aù la vogue soudaine de Sartre attira sur son oeuvre maîtresse une attention qu'aucun ouvrage philosophique n'avait connue précédemment, pour que les commenteurs s'en ampareut;" (Contat & Rybalka p. 86). Even though the work was hardly noticed when it first appeared, a few scholars acknowledged it as a great work of seminal character, importance and novelty; in 1964 Michel Tourier writes: "Un jour de l'automme 1943, un livre tomba sur nos tables: "L'Être et le Néant". Il y eut eu moment de stupeur, puis une longue rumination. L'oeuvre était massive, hirsute, débortante, encyclopédique, superbement technique..." (Les Nouvelles littéraires, 29 octobre 1964).Around 1943, when "L'être et le néant" appeared, Sartre was working together with Henri-Georges Clouzot. During this period they were working on a "scénario", which was supposed to be "an epic adaption" of Sartre's "Huis clos" ("No Exit" - first published in 1944). [See Contat&Rybalka p. 496].HENRI-GEORGES CLOUZOT (1907 -1977) was a famous French film director, screenwriter and producer. He is especially renowned for his thrillers (e.g. "The Wages of Fear" and "Les Diaboliques", which are critically recognized to be among the greatest films from the 1950'ies). Clouzot also directed documentary films, including The Mystery of Picasso, which was declared a national treasure by the government of France.Clouzot was an early fan of the cinema and, desiring a career as a writer, moved to Paris. He was later hired by producer Adolphe Osso to work in Berlin, writing French-language versions of German films. After being fired from German studios due to his friendship with Jewish producers, Clouzot returned to France, where he spent years bedridden after contracting tuberculosis. Upon recovering, Clouzot found work in Nazi occupied France as a screenwriter for the German-owned company Continental Films. At Continental, Clouzot wrote and directed films that were very popular in France. His second film Le Corbeau drew controversy over its harsh look at provincial France and Clouzot was fired from Continental before its release. As a result of his association with Continental, Clouzot was barred by the French government from filmmaking until 1947."Le Corbeau" was a film based on a true story, about a woman who sent poison pen letters in France in 1922. Clouzot was warned against making the film, as the topic was considered "dangerous". He did make the film, however, and "Le Corbeau" became a huge success in France (nearly 250.000 people saw it within the first months of its initial release). "Le Corbeau" was released in 1943 and generated great controversy. Both the right-wing Vichy regime, the left-wing Resistance press, and the Catholic Church opposed the film and condemned it. The Catholic Church considered the film "painful and hard, constantly morbid in its complexity". The Vichy press dubbed it the antithesis of the "Révolution nationale" and demanded it be banned due to its immoral values. The anti-Nazi resistance press considered it Nazi propaganda because of its negative portrayal of the French populace. Two days before the release of Le Corbeau, Continental films fired Clouzot.After the liberation of France, Clouzot was tried in court for collaborating with the Germans. For his sentence, Clouzot was forbidden from going on set of any film or from using a film camera for the rest of his life. Sartre was one of the first people to defend "Le Corbeau", and, being avidly against this severe ruling, sent Cluzot letters of support (as did e.g. Jean Cocteau, René Clair,After the ban was lifted, Clouzot reestablished his reputation and popularity in France during the late 1940s with successful films including Quai des Orfèvres. He was also widely acclaimed internationally for films such as "The Wages of Fear" and "Les Diaboliques", which both came to serve as source material for remakes decades later. Sartre is first and foremost known for his philosophical works, and as "L'être et le néant" ("Being and Nothingness") is generally accepted as his greatest and main work, this marks the beginning of 20th century existentialism, and furthermore "has also come to be regarded as a text-book of existentialism itself..." (Mary Warnock's Introduction to Hazel E. Barnes' translation). This, his seminal work of existentialism, marks one of the most influential philosophical movements of our age.Contat & Rybalka, Les Écrits de Sartre, 1970

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


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