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

        Tailed Amphibians of Japan

      Osaka: Nippon Publishing Company, 1943. First edition.. Light rubbing to the silver lettering on the spine, the title page is lightly tanned, the text is bright and clean as are the fine color plates, there is light edge wear to the slipcase; a tight copy in near fine condition.. Pp. (2), 16, (1), 520; 31 full page color plates (each with a descriptive leaf of text), 149 text-figures, 1 double-page fine halftone plate of 17 stages of embryological development of a tailed amphibian, three full page maps (partly colored). Publisher's original dark blue cloth, lettered in silver on the spine, front cover with silver vertical rule, in original cardboard slipcase lettered in black on the front cover and spine, sm 4to. The volume was limited to 1000 numbered copies, this is copy no. 344. This massive monograph covers the salamanders of Imperial Japan including Formosa (Taiwan) and Korea. According to Adler (vol. 1, p. 122-123), "this is a masterful treatise, with beautiful color plates, and includes systematics, life histories, embryology, and chromosome morphology." The author, Ikio Sato, was Japan's leading expert on salamanders and was Professor of Biology at Hiroshima University. "On August 6, 1945, while waiting for a streetcar to his laboratory, he suffered extensive radiation exposure during the atomic bombing of Hiroshima and died six days later in Hiroshima City at the age of 42" (Adler, p. 122). Sato had been working on an English translation of his 'Tailed Amphibians of Japan' at the time of his death; unfortunately, that manuscript was burned when his home was destroyed in the bombing (Adler). Additionally, any copies of the monograph that Sato or his Hiroshima colleague had were also destroyed in the bombing making the work all the more scarce. The text is in Japanese with Latin names of species used through the volume. The color plates are very well done. No ownership marks and few signs of use.

      [Bookseller: Natural History Books]
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        Musashino Fubutsu

      Seibun-sha 1943 - Shinzo Fukuhara was a photographic pioneer who's considered the father of Japanese modern art photography. Publishing seven books and over 100 articles in his lifetime. In 1943 he published 'Musashino Fubutsu' which was published during World War II when art photography books were a rarity and it portrayed life in the Musashino countryside including insights into its village life, culture and temples. This was the last book published by Shinzo Fukuhara who died in 1949. As well as his images, the book also contains photographs by other members of Nihon Sahshin Kai group including Hachiemon Kawai, Shiro Sawabe and Minoru Minami - - - - - - - - - Uncommon first edition, first printing (note colophon indicating first printing ) in slipcase. Slipcase in good condition with edges worn with some small chips, spine browned by the sun and with an indentation/closed split to the spine - please see images for detail (slipcase now carefully protected with transparent mylar wrapper. Book cover very good with some minor wear to the green paper covered boards at edges. Book contents are very good with some rubbing/foxing/browning to the front and rear end papers. otherwise interior clean and bright - binding tight. All pages complete - - - - - - - - - Please note this book is being sold by Nonpareil Books, Liverpool, England only through AbeBooks [Attributes: First Edition; Hard Cover]

      [Bookseller: Nonpareil Books]
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        POSTER - STARVE THE SQUANDER BUG: BUY MORE WAR BONDS

      - (SEUSS,DR.)illus. POSTER - STARVE THE SQUANDER BUG: BUY MORE WAR BONDS. This is a marvelous wartime poster done in 1943 by Seuss. Measuring 46" wide x 12" high it is creased where folded else Fine. Done in bold full color there are two large panels on either side of the poster - each has one of Seuss's creatures eating money. In large letters in the center is the slogan. Typical Seuss and hard to find in such clean condition.

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        Four Quartets

      New York: Harcourt, Brace and Company, 1943. Hardcover. (Black cloth with spine titled in bright gilt lettering). 8vo. 39pp. Tight. Previous owner's sardonic inscription front endpaper. Second im[ression without statement of edition or bracted printing. Laid-in is the original sales slip of a San Francisco book store, dated 6/17/43. First impression d/j with $2.00 price in place, rear panal listing nine titles, ending with "Old Possum's Book...". and it's inner flap blank. Shallow chip top of spine fold and mostly open inch long tear toe of the same panel. (as seen in the accompaning image) Near Fine in Good, unclipped d/j in jacket protector. . First American Edition.

      [Bookseller: Shamrock Books]
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        Soldaten der Leibstandarte SS Adolf Hitler

      Berlin, Selbstverlag, 1943, großformatige Mappe mit 13 Fototafeln, Mappe berieben, ES FEHLEN DAS TEXTBLATT UND 2 FOTOTAFELN, Zustand 2- (NG10) (NG10)

      [Bookseller: Antiquariat Ehbrecht - Preis inkl. MwSt.]
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        Le Silence de la mer. Récit. Seconde édition.

      - Paris, Aux éditions de Minuit, 25 juillet 1943. In-12, broché, couverture imprimée rempliée, 90, (1) p., (1) f. d'achevé d'imprimer, (1) f. bl. Seconde édition parisenne publiée dans la clandestinité. A la fin: "Cet ouvrage, publié aux dépens de quelques bibliophiles patriotes, a été imprimé sous l'occupation nazie, le 25 juillet 1943, jour de la chute du tyran de Rome". "Six mois à peine après sa sortie effective, la publicité faite autour du 'Silence de la mer' (notamment sur les ondes de le BBC) était telle qu'une deuxième édition fut nécessaire: il fallait satisfaire la curiosité qui entourait ce livre à Paris, où 100 exemplaires seulement avaient circulé. Cette deuxième édition, recomposée par Aulard (avec la faute corrigée à "dégingandé"), est rare" (Vignes, 'Bibliographie des Editions de Minuit', n°1). Quelques infimes accrocs à la couverture. Petite signature ex-libris sur une garde blanche. Bon exemplaire, tel que paru. [Attributes: Soft Cover]

      [Bookseller: Librairie HATCHUEL]
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        Typed Letter, Signed

      Hawthorn, Fl 1943 - 1 page, on quarto sheet of letterhead, signed in full. To "Dear Mr. Wilson," in response to a note and request for autograph. She apologies for her delay due to illness and surgery, and notes "You are probably far from Fort Meade by now, but I see your envelop[sic] uses your home address. It is difficult to say which is my own favorite among my books. I suppose 'The Yearling' is the most unified artistically, and stands the best chance of survival . I have a private affection for the least successful of my books, 'Golden Apples'. It is not artistically successful,because I combined too-alien elements, yet I said things in it that I wanted very much to say ." Old fold from having been mailed, with slight offset from signature to upper blank margin as a consequence, otherwise fine. Folding cloth slipcase. From the James S. Copley collection 1 page, on quarto sheet of letterhead, signed in full [Attributes: Signed Copy]

      [Bookseller: James Cummins Bookseller, ABAA]
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        ça va

      First edition on ordinary paper. Handsome autograph inscription signed by Tristan Tzara to Raymond Queneau : "... avec toute la grande sympathie...[with all great good wishes...]"Tiny insignidficant marginal tears to covers. Comité national des écrivains & Centre des intellectuels Cahors 1943 11x13,5cm agrafé

      [Bookseller: Librairie Le Feu Follet]
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        he Two-Move Chess Problem in the Soviet Union, 1923-1943

      Stamford: Overbrook Press, 1943. [9]+71 pages with diagrams and index. Octavo (8 1/2" x 5 1/2") issued in red cloth with gilt lettering to spine and gilt stripe to front cover. Edited by Albrecht Buschke, Richard Cheney and Alain White. Limited to 300 copies. Title page decoration by Vera Back. Errata tipped in. (Betts: 36-7). First edition.A Collection of 120 problems by Russian composers, with notes on the themes, constructions and composers. The problems are arranged in four groups and further sub-divided by theme. Includes an index of composers, sources and keys.Condition:A near fine copy with the original brown dust wrapper.

      [Bookseller: The Book Collector ]
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        Hannibal und Bambu bei den Känguruhs. Bilderbuch. [Und ders.]: Hannibal und Bambu auf der Affen-Insel. Bilderbuch. Jeweils mit elf ganzseitigen farbigen Illustrationen und weiteren farbigen Illustrationen im Text. [2 Bände in einem Band].

      Bln, West-Ost-Verlag [ca 1943]. Qu.-gr.-8° (23 x 27.5 cm). 12, 12 Bll. Illustr. OPpBd mit neuem Lwd-Rücken. Einband stärker berieben und etwas fleckig, Ecken bestoßen, Rücken mit grauer Lwd bezogen. In der Höhe wurde die Deckel beim Neubinden vermutlich um 0.5 cm beschnitten. Innen teils geringf. fingerfleckig. Wenige unterlegte Einrisse, bis auf einen alle im weißen Rand. Innengelenke entsprechend der Zusammenbindung zweier Titel verstärkt, Klammerheftung teils minimal angerostet, Bindung mit Faden verstärkt. Der (gemeinsame) Einband mit `Hannibal und Bambu auf der Affen-Insel`. Text in der ab 1941 verordneten `deutschen Normalschrift`. - Nicht bei Klotz oder Schug. DBV 25.799 (mit dem Zeitraum 1941-1950) listet nur die `Affeninsel` in 1. und 2. Auflage für 1943. Klotz nennt zwar Rammelt verschiedentlich als Illustrator und hier auch für den West-Ost-Verlag (etwa 1899/1-2 für 1942-43), die vorliegenden Titel jedoch nicht. Da die Verlagsanzeigen auf dem letzten Bl. der `Affeninsel` den `Känguruh`-Band nicht erwähnen, wird dieser auch frühestens auf 1943 zu datieren sein. Versand D: 4,50 EUR

      [Bookseller: Antiquariat Schmetz am Dom]
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        ?????????. [Dait?asens? kaigun bijutsu]. [Art from the Naval Campaigns of the Greater East Asia War].

      Tokyo: Dainihon Kaiy? Bijutsu Ky?kai [Great Japan Oceanic Art Association] ?????????. Showa 18. ??1943.. 35 colour plates showing official Japanese Second World War paintings tipped in on card (31 x 39cm) each with captioned tissue guards. Presented in original fabric covered case, paper title label on upper cover, 2 leaves of text, list of plates laid down on inside of case. The Emperor's Declaration of War, the editor's note and plain paper band to give aid in lifting images from box are not present. Fabric on the case is frayed in places but is otherwise very good and complete. The case measures 42 x 34cm. A superior edition of the work which is more frequently seen in book form. This edition marked "Not for sale". This striking portfolio contains thirty-five reproductions of Japanese World War II propaganda paintings by Japanese official war artists many of whom were already established artists at the time. The publication was supported by the Ministry of Navy and features the calligraphy of Admiral Yamamoto Isoroku on one of the first leaves proclaiming "Always in the Battlefield", the testimonial by Admiral Yonai Mitsumasa who became a minister in the Ministry of Navey in 1944 as well as his calligraphy for the title on the upper cover. Among the well known artists whose work is included is Fujita Tsuguji who had moved to Paris and established his career as a painter before the war where he became friends with Pablo Picasso. All the paintings but one, record known events and battles in World War II. However not all scenes depicted are entirely accurate. The image titled "Night Operations of the Battle of Savo Island" (No.25) shows the night time battle which took place on the 8th August in 1942. This painting shows HMAS Canberra on fire. The caption for this scene says "HMAS Australia sank and HMAS Canberra started a fire" but although the HMAS Australia was engaged in the battle it did not sink. The most imaginative painting however is the image of New York which shows Japanese bombers circling the city. .

      [Bookseller: Asia Bookroom]
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        ????????

      Tokyo: Dainihon Kaiy? Bijutsu Ky?kai [Great Japan Oceanic Art Association] ?

      [Bookseller: Asia Bookroom]
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        Monarquía indiana

      Mexico City: Salvador Chávez Hayhoe, 1943-44. 3 volumes: xl+768+[lxvii] pages with folding map and index; xiii+623+lxvi pages; [x]+634+xliv pages; Quarto (12" x 8 1/4") bound in full leather with gilt decorative lettering to spine and board to boards. From the library of George M Foster. 3d edition.Juan de Torquemada was born between 1557 and 1565 and arrived in New Spain as a child. He studied philosophy and Nahuatl at the convent Grande de San Francisco in Mexico City, where he was ordained in 1579. In 1582 he moved to the convent of Santiago Tlatelolco, and he was made guardian of that convent in 1600. He also took over the administration of the Colegio de Santa Cruz de Tlatelolco. Beginning in 1604 he traveled continually on the business of his order. He was guardian of the convents of Zacatlán (in the mountains of Puebla) and Tlaxcala. In 1607, during the terrible flood of Mexico City, he was asked by Viceroy Juan de Mendoza y Luna, marqués de Montesclaros to reconstruct the calzadas (carriageways) of Chapultepec, Misterios to Tepeyac and San Cristóbal and the dams of Zumpango and Citlaltépetl, although he was not an engineer. In 1609 he was named chronologist of the Franciscan Order. In 1610 Torquemada oversaw construction of the monastery and church of Santiago Tlatelolco. Its interior featured a grandiose altarpiece decorated with paintings by Baltasar de Echave Orio surrounding a hand-carved relief of Santiago, but this was destroyed soon afterwards. In 1614 Torquemada was elected provincial superior of the Order of St. Francis in Mexico.[2] He held this position until 1617. He died suddenly in the church of Santiago Tlatelolco in 1624, while singing matins. Juan de Torquemada was born between 1557 and 1565 and arrived in New Spain as a child. He studied philosophy and Nahuatl at the convent Grande de San Francisco in Mexico City, where he was ordained in 1579. In 1582 he moved to the convent of Santiago Tlatelolco, and he was made guardian of that convent in 1600. He also took over the administration of the Colegio de Santa Cruz de Tlatelolco. His main work is Los veintiún libros rituales i monarchia indiana con el origen y guerras de los Indios Occidentales, de sus poblaciones, descubrimientos, conquista, conversión y otras cosas maravillosas de la misma tierra (The Twenty-one Ritual Books and Indian Monarchy With the Origin and Wars of the West Indians, of Their Populations, Discoveries, Conquest, Conversion and Other Marvelous Things of the Same Land, usually known as Monarchia Indiana) (3 volumes, Seville, 1615). The first edition is rare, but the work was reprinted in Madrid in 1723 and again in a facsimile edition by Salvador Chávez Hayhoe in 1943-44. This was the only New Spain chronicle of its time known to contemporaries. Works of Toribio de Benavente Motolinia, Bernardino de Sahagún, Gerónimo de Mendieta, Diego Muñoz Camargo and others were not available for centuries. The book is tedious to read because of its theological digressions, contradictions and anachronisms. Nevertheless, it gathers together a large quantity of information taken from Indigenous pictographs and manuscripts and from Franciscan and other Catholic scholars. Torquemada interviewed old Indigenous people about their ancestors and recorded their oral traditions. The Monarchia Indiana is the best work on what was known of the Indigenous past at the beginning of the seventeenth century. It is considered an especially important source on the Totonac, Pipil and Nicoya cultures.George McClelland Foster, Jr born in Sioux Falls, South Dakota, on October 9, 1913, died on May 18, 2006, at his home in the hills above the campus of the University of California, Berkeley, where he served as a professor from 1953 to his retirement in 1979, when he became professor emeritus. His contributions to anthropological theory and practice still challenge us; in more than 300 publications, his writings encompass a wide diversity of topics, including acculturation, long-term fieldwork, peasant economies, pottery making, public health, social structure, symbolic systems, technological change, theories of illness and wellness, humoral medicine in Latin America, and worldview. The quantity, quality, and long-term value of his scholarly work led to his election to the National Academy of Sciences in 1976. Virtually all of his major publications have been reprinted and/or translated. Provenance from the executor of Foster's library laid in.Condition:Foster's date of aquiry on front end paper of volume one (lacks Foster's stamp), light edge wear else a very good to fine copy.

      [Bookseller: The Book Collector ]
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        Les Bucoliques.

      [Paris], Les Bibliophiles Franco-Suisses, 1943. - In-4°, 155p. Edition limitée à 120 exemplaires numérotés sur vélin de Lana filigrané. Texte en latin avec en regard la traduction française de Xavier de Magallon. Pages liminaires de Fernand Mazade. Illustré de 32 lithographies originales de K.-X. Roussel. Notre exemplaire est enrichi d'un dessin original de l'artiste et d'une suite de toutes les lithographies. Reliure signée J. Ogiez. Reliure plein maroquin beige, dos à 4 nerfs avec titre doré à froid, dentelle intérieure, gardes doublées de soie brune et de papier fantaisie rehaussé à l'or, tête dorée, couverture et dos conservés. [Attributes: Signed Copy]

      [Bookseller: Le Cabinet d'Amateur]
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        [Faux-Pas] Digressions. Jeu complet d'épreuves abondamment corrigées par l'auteur.

      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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        Carmen

      Edition adorned with artwork of Jean Traynier, led to 425 copies, ours, one of 325 numbered on Arches paper wove unnumbered, includes proof manuscript illustrator: "Exemplary artist booked for ... with Mr. the sympathy of the illustrator. "It is also enriched with a dedication page autograph Jean Traynier and 20 original watercolors by the artist in the margin.Back of the shirt slightly past.Beautiful illustrated adaptation of etchings of Jean Traynier beautifully hand colored watercolor artist. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Le Vasseur et Cie Paris 1943 23,3x28,7cm en feuilles sous chemise et étui

      [Bookseller: Librairie Le Feu Follet]
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        Die SA der NSDAP 1933-1943. Bearbeitet im Auftrag der Obersten SA.-Führung von Obersturmbannführer Hans Sponholz. Sonderdruck der Zeitschrift \"Der SA Führer\"

      München, Zentralverlag der NSDAP., Franz Eher Nachf., München, 1943. Vollständige Ausgabe im original Verlagseinband (orangebrauner Steifumschlag / Broschur / Kartoneinband 8vo im Format 17 x 22 cm) mit illustriertem Deckeltitel, 40 Seiten. - Aus dem Inhalt: 1933. Nach dem Siege / Die Straße frei! / Großer SA.-Appell / Garant der nationalsozialistischen Revolution / Der Stahlhelm tritt zur SA / Reichsparteitag des Sieges - 1934 / An historischer Stätte / Stiftung des SA.-Sportabzeichens / Gegen Miesmacher und Nörgler / Adolf Hitler und seine SA / Reichsparteitag \"Triumph des Willens\" / Kameraden in Kerkern / Sozialismus der Tat - 1935. Neustiftung des SA.-Sportabzeichens / Verkündung der allgemeinen Wehrpflicht / Wahlsieg in Danzig / Reichswettkampf der SA / \"Reichsparteitag der Freiheit\" / Der letzte Appell - 1936. Der Stabschef über das Wesen der SA / Appell der dienstältesten SA.-Männer / Leistungsprüfung aller SA.-Führer / Um die Meisterschaften im Gepäckmarsch / Und wieder eine Schlacht geschlagen! / Das Dankopfer der Nation / Aufstellung des NS.-Reiterkorps / SA.-Standarte \"Feldherrnhalle\" / \"Reichsparteitag der Ehre\" / Die Nationalsozialistischen Kampfspiele / Appell des Aktivismus - 1937. In unseren Herzen leben sie weiter! / Wintersportkämpfe der Gliederungen der NSDAP / Träger wehrhaften Geistes / Reichs-SA.-Sanitätsschule Tübingen / 1. Pistolenmeisterschaft der SA / Reichswettkämpfe in Berlin / \"Reichsparteitag der Arbeit\" / Der Tag der SA - 1938. Nachwuchsführer in der Reichskanzlei / Siege in Oberhof / Die Führung des Deutschen Schützensverbandes / Ein Volk, ein Reich, ein Führer! / Volksabstimmung und Wahl zum ersten Großdeutschen Reichstag / Reichswettkämpfe der SA / \"Reichsparteitag Großdeutschland\" / \"Wenn Sie Idealisten brauchen, mein Führer. . . \" / Heimkehr der Sudetendeutschen - 1939. Um den Wanderpreis des Führers / Garant der nationalsozialistischen Wehrerziehung / Böhmen, Mähren, Memelland / Reichswettkämpfe -1.9.1939 bis 30.1.1943. Die SA im Kriege: Einsatz an der Front / Die SA in den neuen Gebieten / Einsatz im Heimatgebiet / Die Leistung der Sondereinheiten / Wehrkampftage 1942 / Kämpfer und Künstler / Tagesbefehl des Staatschefs zum 30.1.1943. -Deutsches / Drittes Reich, Großdeutschland im 2. Weltkrieg, Nationalsozialismus, Schrifttum der Bewegung, Sa.-Männer bei der Wehrmacht, SA im Kriegseinsatz gegen die Feindmächte, nationalsozialistische Monatsschrift, Adolf Hitler, NSDAP, NS.-Schrifttum, Sturmabteilung der NSDAP, Antibolschewismus, völkisches / nationalsozialistisches Gedankengut Kriegsdruck, Exemplar in guter Erhaltung (Namensstempel mit Signaturvermerk auf vorderem Einbanddeckel oben rechts, Namenstempel auf Titelblatt, Einband etwas stockfleckig, sonst tadellos) Versand D: 5,90 EUR Deutsches / Drittes Reich, Großdeutschland im 2. Weltkrieg, Nationalsozialismus, Schrifttum der Bewegung, Sa.-Männer bei der Wehrmacht, SA im Kriegseinsatz gegen die Feindmächte, nationalsozialistische Monatsschrift, Adolf Hitler, NSDAP, NS.-Schrifttum, Sturmabteilung der NSDAP, Antibolschewismus, völkisches / nationalsozialistisches Gedankengut

      [Bookseller: Galerie für gegenständliche Kunst]
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        Typed Letter Signed on behalf of George Cukor, 4to on personal printed stationery, n.p., January 16, 1943

      - Tracy writes a letter of recommendation for his friend and film director, George Cukor. The actor recommends the director to make war propaganda films. In 1942, Cukor enlisted in the Army Signal Corps. Cukor was 43 at that time which might the reason for Tracy writing to Colonel Melvin Gillette, of the Signal Corps Photographic Center. Cukor directed training and propaganda films for a year after which he honorably discharged because of his age. Tracy and Cukor had worked together on a number of films before and after World War II. Tracy lists some of Cukor's films as a way of showing Cukor's accomplishments. He describes Cukor as, "a man of great intellectual and artistic experience, has a great sense of humor and an enormously quick mind, which seems to me to add materially to his potentialities as an officer. He is a very well educated man.has boundless energy." Tracy notes in his final paragraph that Cukor understands "human nature." He signs above his typed name, "Spencer Tracy."

      [Bookseller: Schulson Autographs, Ltd.]
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        Lagerhygiene * Band VI der Reihe \"Taschenbücher des Truppenarztes\"

      München / Berlin, J. F. Lehmanns Verlag, 1943. Vollständige Ausgabe im Original-Verlagseinband (Broschur / Steifumschlag / Kartoneinband kl.8vo im Format 12,3 x 19 cm) mit Rücken- und dekoriertem Deckeltitel. 65 Seiten, mit 12 Abbildungen. - Aus dem Inhalt: Allgemeine hygienische Aufgaben (Baugrund, Bauplatz, Baracken, Heizung, Lüftung, Einrichtung, Reinhaltung) - Trinkwasserversorgung und Abwasserbeseitigung (Entnahme des Trinkwassers, Beseitigung der Fäkalien, Beseitigung der Wirtschaftsabwässer, Beseitigung der festen Abfallstoffe) - Die Seuchenbekämpfung im Lager (Die durch Tröpfchen übertragbaren Krankheiten / Die Schmutzseuchen / Die Entlausung / Die Erkältungskrankheiten / Laufende Entsorgung / Ungezieferbekämpfung) - Besonderheiten der einzelnen Lagerformen (Das Lager der Hitlerjugend / Das Lager des Reichsarbeitsdienst / Arbeitslager / Umsiedlungslager / Kriegsgefangenenlager). - Der Verfasser Dr. med. Friedrich Erhard Haag war ordentlicher Professor der Hygiene an der Universität Gießen, Oberststabsarzt und beratender Hygieniker beim Wehrkreisarzt IX. - Mit zeittypischen Ausführungen wie z.B.: \"Lager sind entweder für eine stark wechselnde Belegung berechnet oder dazu bestimmt, ohne Schwierigkeiten den Standort zu wechseln. Jedes Lager hat zudem besondere Aufgaben; die Lager der Hitlerjugend, die Sommerlager der Schulen, die Lage des Reichsarbeitsdienstes, die Arbeits-und Sportlager, die Krieg die Umsiedlungslager und die Kriegsgefangenen- und Konzentrationslager haben nach Größe und Aufbau ihre Besonderheiten, die zu berücksichtigen sind. Aber für alle diese Lager gelten bestimmte hygienische Grundforderungen, die auch bei einer Einschränkung auf das Notwendigste eingehalten werden müssen\" / \"Jedem neu eintretenden Arbeiter ist ein mit frischem Stroh und sauberen Bezügen versehenes Bett zu geben. Für je 20 Arbeiter ist mindestens ein Abort vorzusehen, der gesundheitlich und sittlich einwandfrei sein muss. Für die Arbeitslager der Ostvölker gelten noch besondere Gesichtspunkte. Die nationale Einheit des deutschen Volkes erfordert die klare Abtrennung von Volksfremden. Der Einsatz volksfremder Arbeiter und Arbeiterinnen in unseren Bauern- und Stadtfamilien mit Verpflegung und Unterbringung in den einzelnen Haushaltungen ist aus volkspolitischen und rassenhygienischen Gründen bedenklich. Nur die Einrichtung von besonders kleineren Arbeitslagern kann die erwünschte Abtrennung bringen.\" - Erstausgabe in guter Erhaltung; Bibliotheksaufkleber auf Innenseite des Vorderdeckels, Bibliotheksstempel auf Titelblatt, Signaturaufkleber auf Rücken und Vorderdeckel, sonst gut) - Deutsche Lager im 2.Weltkrieg, Lagerhygiene, Entlausung, Ungezieferbekämpfung, verlauste Angehörige der Ostvölker, Hygiene im Nationalsozialismus, Krankenversorgung bei den Soldaten der Wehrmacht, HJ-Lager, Kriegsmedizin, medizinisches Lehrbuch, Militaria, Sanitätsoffizier, Sanitätsdienst des Heeres, Drittes Reich, Konzentrationslager, Arbeitslager, NS.-Schrifttum, völkisches / nationalsozialistisches Gedankengut Versand D: 5,90 EUR Deutsche Lager im 2.Weltkrieg, Lagerhygiene, Entlausung, Ungezieferbekämpfung, verlauste Angehörige der Ostvölker, Hygiene im Nationalsozialismus, Krankenversorgung bei den Soldaten der Wehrmacht, HJ-Lager, Kriegsmedizin, medizinisches Lehrbuch, Militaria, Sanitätsoffizier, Sanitätsdienst des Heeres, Drittes Reich, Konzentrationslager, Arbeitslager, NS.-Schrifttum, völkisches / nationalsozialistisches Gedankengut

      [Bookseller: Galerie für gegenständliche Kunst]
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        The Case of the Smoking Chimney; Inscribed to a Secretary

      William Morrow & Co, New York 1943 - Octavo. SIGNED AND WARMLY INSCRIBED TO NONI BIBLER, ONE OF GARDNER'S SECRETARIES (see Gardner's biography, by Dorothy B. Hughes), to whom he dictated some of his novels: "To/Noni - who/had to write the.blame thing/Merry Christmas! Yours Erle/Erle Stanley Gardner/December.1942." A beautiful copy, fine in a so near fine dust jacket. 250 pp. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Charles Parkhurst Rare Books, Inc. ABAA]
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        THE CASE OF THE SMOKING CHIMNEY

      William Morrow and Company, 1943., NEW YORK - First edition. Fine, bright copy in dust jacket with light restoration to the spine ends, corners and extremities by a paper conservator. The second Gramps Wiggins [Attributes: First Edition; Hard Cover]

      [Bookseller: BUCKINGHAM BOOKS, ABAA, ILAB, IOBA]
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        A Tree Grows in Brooklyn

      New York: Harpers, 1943. Frist printing. A clean and bright NF copy in a VG first state dust jacket with the price of $2.75 and code of 5338 intact on the front flap and with the revesre of the dust jacket blank (second state jackets include "How the Tree Grew" on the reverse side). A scarce first printing in nice shape and basis for the film directed by Elia Kazan and starring Dorothy McGuire, Joan Blondell, and Oscar winners Peggy Ann Garner and James Dunn.. First Edition. Hard Cover. NF/Very Good.

      [Bookseller: Acorn Books]
 22.   Check availability:     Biblio     Link/Print  


        Le ciel de Nieflheim

      Chez l'auteur . First edition, printed in a small number of copies at the author's expense and never commercially sold; there were no large paper copies. This is a set of printed proofs in plain covers that the author distributed to his friends. Once the Axis forces stopped doing so well, Jacques Chardonne tried to recover most of the copies he had given away to friends in order to destroy them. One small lack to plain upper paper cover, a few wormholes also; otherwise a good copy. Very rare.% Chez l'auteur s.l. 1943 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Les mouches

      Gallimard. First edition, one of 18 numbered copies on pur fil paper, tirage de tête.A rare and very good unsophisticated copy with the advertising slip preserved.  Gallimard Paris 1943 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Ceremonies in Honour of the Right Honourable Winston Spencer Churchill.

      Cambridge, MA: Harvard University, 1943. Presentation Copy. Octavo. Bound in red cloth, with gilt titles and arms of the university to front board. Includes a signed compliment card. Rare in hardback issue. The binding is pristine, with no marks of wear or signs of fading. Internally clean, with slight residual mark where presentation card was held in with paper clip. The card is dedicated to A.H. Smith CBE, presumably Albert Hugh Smith, Quain Professor of English at University College London, and signed by David M. Little, Secretary of the University, Harvard. WOODS D(b)59, COHEN A186.2.

      [Bookseller: Adrian Harrington]
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        The Songs Of The "Morning" -- A most unique copy signed by Doorly; With signed letter.

      Melbourne: Bread and Cheese Club 1943 - Melbourne: Bread and Cheese Club. 1943. First Edition;, 1943. Sm4to – 25.8cm.,18pp, [14] (music). full-page illustration of the ship 'Morning' in McMurdo Sound National Antarctic Expedition 1901-1904. Original stiff grey leather grain printed wrappers —very good condition with watermark on upper right corner of front cover. Songs of the 'Morning" was written and composed in the Antarctic on the relief ship to Captain Scott's expedition of 1902-1904, the ship carried a piano, the music was written by Gerald Doorly and the lyrics by John D. Morrison the chief engineer. Scarce. Rosove 98.A1. This unique copy is signed and inscribed by Gerald S. Doorly and dated 4.4.43 in the year of publication in the lower right corner of the title page. The inscription is to J.S. Forman reading: “Signed with grateful wishes and many thanks for many kindnesses – for Fellow J.S. Forman” Gerald S. Doorly 4.4.43”. With: A typed letter to Mr. J.S. Forman and signed by Gerald S. Doorly. This letter is dated 3/4/43 and is a letter of apology for the misspelling of Forman’s name on the Music title page of this publication. Forman was responsible for and credited with the lettering of the song titles throughout. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Chet Ross Rare Books, ABAA]
 26.   Check availability:     AbeBooks     Link/Print  


        Le mythe d'Oreste. Manuscrit autographe et tapuscrit complets

      S.n. (Journal des débats). Autograph manuscript of the author of four and a half pages in-8 published in the issue dated 27 July 1943 of the Journal of Debates and resumed the same year in Faux-Pas. Complete manuscript writing very dense, with many erasures, corrections and additions. Important literary chronicle of the work of Jean-Paul Sartre and especially his last piece of theater: Flies. Full typescript is attached. Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of the intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that develop later Many in these essays, "The Share of fire" to "The Infinite Conversation" and "The Writing disaster." From the very first articles, Blanchot demonstrates a sharp analysis far beyond the current literature that motivates writing. Oscillating between classical and modern writers of the first order and minor novelists, he puts in his columns, the foundations of critical thinking which will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer his own rhetoric, delivered more to echo the impossible or the lure of extinction. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity. S.n. (Journal des débats) s.l. (Paris) s.d. (1943) 13,5x21,5cm & 4 pages in-4 4 1/2 pages in-8

      [Bookseller: Librairie Le Feu Follet]
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        L'expérience de Proust. Manuscrit autographe

      . Autograph four and a half pages. published May 12, 1943 in Hansard and in Faux-Pas.1943 2 feuillets in-8 (21 x 13 cm) et ½ feuillet in-8 (10,5 x 13,5 cm) paginés de 1 à 5en feuilles

      [Bookseller: Librairie Le Feu Follet]
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        Arentelles

      Gallimard. First edition, one advance (service de presse) copy.Handsome autograph inscription signed by the author to Robert Desnos.Light and rare foxings on the upper cover, a good copy. Gallimard Paris 1943 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Misfortunes of the Immortals

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Faux pas

      Gallimard. First edition, one copy of the service presse.binding half red morocco, spine with five nerves, when golden tail, flat marbled paper, guards and contreplats of handmade paper, wrappers preserved (a pale spot on the first flat, golden head, elegant binding signed P. Goy & C. Vilaine.Précieux and moving autograph dedication signed by the author to his mother and his sister: "For his dear mother and his old friendship with Marg without No fake Mauritius. "Marguerite Blanchot, renowned organist Chalon Cathedral, remained all his life in the family home with his mother and aunt." It will gradually become, for the family, as the memory of the origins . "Very close to Mauritius, she regularly corresponded with the writer who demonstrates her great recognition for his dedication to their helpless mother. intense affection If Blanchot for his mother and sister shines in dedications of it, we know almost nothing about their relationship. In the only biographical essay on Blanchot, Christophe Bident reveals however: "Marguerite Maurice Blanchot worshiped his brother very proud of him, (...) it attached great importance to his political ideas (...) She read a lot (.... .) They phoned corresponded. Remotely, they shared the same natural authority, the same concern for discretion. " Blanchot address him indeed many books from his library, now with her continuous intellectual bond. As for the passion of Blanchot for his mother, it was the turn of his work that we discover the finest examples: "Maybe the power of the mother figure she borrows its radiance to the same power fascination, and one might say that if the mother carries this fascinating attraction is as appearing when the child lives entirely under the gaze of fascination, it concentrates in itself all the powers of enchantment ".Cultivant absolute discretion, Blanchot pushed the art of erasing into his handwritten dedications generally brief and almost always written on cards attached to rare books which he gave to his close friends. In contrast, in these precious autograph dedication of the authors to his mother and sister, Blanchot offers in all its fragility, revealing a hitherto unknown intimacy. Nice copy all well established margins. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Gallimard Paris 1943 14x21cm relié

      [Bookseller: Librairie Le Feu Follet]
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        å¤§æ±äºœæˆ¦äº‰æµ·è»ç¾Žè¡“. [Daitōasensō kaigun bijutsu]. [Art from the Naval Campaigns of the Greater East Asia War]....

      Tokyo: Dainihon Kaiyō Bijutsu Kyōkai [Great Japan Oceanic Art Association] 大日本海洋美術協會, Showa 18. 昭和1943. 35 colour plates showing official Japanese Second World War paintings tipped in on card (31 x 39cm) each with captioned tissue guards. Presented in original fabric covered case, paper title label on upper cover, 2 leaves of text, list of plates laid down on inside of case. The Emperor's Declaration of War, the editor's note and plain paper band to give aid in lifting images from box are not present. Fabric on the case is frayed in places but is otherwise very good and complete. The case measures 42 x 34cm. A superior edition of the work which is more frequently seen in book form. This edition marked "Not for sale". This striking portfolio contains thirty-five reproductions of Japanese World War II propaganda paintings by Japanese official war artists many of whom were already established artists at the time. The publication was supported by the Ministry of Navy and features the calligraphy of Admiral Yamamoto Isoroku on one of the first leaves proclaiming "Always in the Battlefield", the testimonial by Admiral Yonai Mitsumasa who became a minister in the Ministry of Navey in 1944 as well as his calligraphy for the title on the upper cover.Among the well known artists whose work is included is Fujita Tsuguji who had moved to Paris and established his career as a painter before the war where he became friends with Pablo Picasso. All the paintings but one, record known events and battles in World War II. However not all scenes depicted are entirely accurate. The image titled "Night Operations of the Battle of Savo Island" (No.25) shows the night time battle which took place on the 8th August in 1942. This painting shows HMAS Canberra on fire. The caption for this scene says "HMAS Australia sank and HMAS Canberra started a fire" but although the HMAS Australia was engaged in the battle it did not sink. The most imaginative painting however is the image of New York which shows Japanese bombers circling the city. (When referring to this item please quote stockid 157322)....

      [Bookseller: Asia Bookroom]
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        Le roman du regard. Manuscrit autographe et tapuscrit complets.

      S.n. (Journal des débats). Autograph manuscript of the author of four and a half pages 8vo published in the issue dated 18-19 December 1943 in the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions.Chronic literary published on the occasion of the publication of "The Guest" by Simone de Beauvoir.Typescript is complete seal.Important analysis of the first novel by Simone de Beauvoir. As usual, Blanchot sweeps the narrative of the novel contingency to extract the essence "phenomenological". It outlines the philosophical correspondence between the work of Beauvoir and Sartre. Following Nausea and Flies, Blanchot sees to Stay "an illustration of the analyzes Jean-Paul Sartre devoted to our" living for others "and that illuminate, a beautifully clear, one of most knotted darkest of human reality. "dramasIgnoring the autobiographical "threesomes" the novel that keeps most critics, Blanchot reveals the true subversion of the invitation: "Can we get rid of others Perhaps, if by action that we claim entirely, we manage to be conscious of our freedom. "A thinly veiled reference to the news of the day which is reflected in the interpretation of murdering Xaviere: "The slave does not become the master, because it kills the master, but because the killing, he risks what he was previously a slave, his life, his quiet, easy harmony with the world. "Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of intellectual life" of the Journal of Debates 173 articles on new books.In a half-page newspaper (about seven pages in-8), the young author of "Thomas the obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that he would later develop Many in these essays, "La Part du feu" to "The Infinite Conversation" and "The Scripture of the disaster."From the very first articles, Blanchot demonstrated analytical acuity far beyond current literature that motivates writing. Oscillating between classic and modern, first-class writers and minor novelists, he puts in his columns, the foundations of critical thinking that will mark the second half of the twentieth.Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," the violent maurassiennes certainties of his youth.Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are two acts from which culture entered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943).In 2007, Cahiers NRF together under the direction of Christopher Bident all literary chronicles not yet published in volume with the proper analysis of the critical work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer of his own rhetoric, delivered more to the echo of the impossible or the lure of the disappearance. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident).The autograph manuscripts of Maurice Blanchot are of great rarity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! S.n. (Journal des débats) s.l. (Paris) s.d. (1943) 13,5x21,5cm & 3 1/2 pages in-4 4 1/2 pages in-8

      [Bookseller: Librairie Le Feu Follet]
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        [Books and Reports Concerning the United States Army during World War Two, from the Library of General Somervell].

      Washington, D.C.: Office of the Chief of Military History, United States Army, 1943 - 1972. INSCRIBED BY GENERAL MARSHALL. Seven volumes. Five in octavo, two quarto. Comprising: 1) 'Biennial Report of the Chief of Staff of the United States Army, July 1, 1941, to June 30, 1943, to the Secretary of War.' Octavo, pp.v, 56. With 6 folding maps and 19 folding charts. In Somervell's personal black morocco covers with gilt titles and name to front cover. Dedicated in blue ink to flyleaf by General Marshall: 'To General Somervell / with appreciation / and warm regards / G Marshall'. 2) 'Biennial Report of the Chief of Staff of the United States Army to the Secretary of War, July 1, 1943, to June 30, 1945.' Quarto, pp.iii, 123. With a supplementary Atlas of World Battle Fronts, pp. 101. In Somervell's personal black morocco covers with gilt titles and name to front cover. Dedicated in blue ink to flyleaf by General Marshall: 'Dear Somervell // Please accept this copy of / my final report as Chief of Staff, with / appreciation of your tremendous / services to the army and support of / me, with my affectionate regards // G Marshall / October 5, 1945'. 3) 'Report by the Supreme Commander to the Combined Chiefs of Staff on the Operations in Europe of the Allied Expeditionary Force, 6 June 1944 to 8 May 1945.' Quarto, pp.x, 123. With several colour maps. In Somervell's personal black morocco covers with gilt titles and name to front cover. 4-7) Volumes from the 'United States Army in World War II' series: 4a) MILLETT, John D. 'The Army Service Forces: The Organisation and Role of the Army Service Forces.' 1954. Octavo, pp.xx, 494. With several tables, charts and illustrations. Loose presentation card signed in blue ink by Major General A. C. Smith. In publisher's green cloth with gilt titles to spine. 4b) MATLOFF, Maurice, and SNELL, Edwin M. 'The War Department: Strategic Planning for Coalition Warfare 1941-1942.' [vol. III of VIII] 1953. Octavo, pp.xvi, 454. With 3 large folding charts to rear and a number of illustrations. In publisher's green cloth with gilt titles to spine. 4c) LEIGHTON, Richard M., and COAKLEY, Robert W. 'The War Department: Global Logistics and Strategy 1940-1943.' [vol. IV of VIII] 1955. Octavo, pp.xxii, 780. With 9 maps, several folding, and many tables, charts and illustrations. Loose presentation card signed by the authors and two others. In publisher's green cloth with gilt titles to spine. 4d) FINE, Lenore, and REMINGTON, Jesse A. 'The Technical Services: The Corps of Engineers: Construction in the United States.' [vol. III of IV] 1972. Octavo, pp.xviii, 747. With numerous tables, charts, maps and illustrations. In publisher's green cloth with gilt titles to spine. 'United States Army in World War II', vols. dated 1953 and 1954 heavily worn and mould-stained externally, text blocks fine. Others in the series clean, very good. Reports have some external wear, good overall. A unique collection of books and reports owned by, and in many cases directly concerning, General Somervell, who became Commanding General of the Army Service Forces of the United States Armed Forces in 1942. Two of the reports in particular are inscribed by his superior General Marshall, Chief of Staff. Volumes from the 'United States Army in World War II' series were evidently presented to General Somervell as they were published, though only a handful have made it into this collection. His family seems to have continued receiving the books after his death in 1955, explaining the later dated items.

      [Bookseller: Adrian Harrington]
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        Le chèvre-feuille

      Robert J. Godet. First edition with 6 original lithographs by Pablo Picasso, one of 500 numbered copies on Lafuma paper. A good copy retaining its advertising band, as well as its advertising slip, written by Paul Eluard. Robert J. Godet 1943 23x28cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Le petit prince

      Third printing, produced a few weeks after the first and the same as the first edition ("marque au corbeau", price, publisher's address), but in a blue-grey binding and with the notice "third printing" on the front free endpaper.The only copy known to date of the Little Prince in French inscribed by Saint-Exupéry.Publisher's blue-grey cloth with illustrated dust jacket (two small repairs to foot of spine).A very rare and handsome autograph inscription by Antoine de Saint-Exupéry : "Pour Malou et Jean Michel Sturm avec toute l'amitié de Antoine de Saint-Exupéry [For Malou and Jean Michel Sturm with friendly good wishes from Antoine de Saint-Exupéry]".Drawings by the author.This copy has a protective chemise by Julie Nadot, featuring the illustrations from the dust jacket on the covers."Fairytales are like that. One morning you wake up, and you say to yourself: 'it's nothing but a fairytale' You smile at your foolishness. But deep down, you're not convinced. We all know that fairytales are the only really true things in life" (Saint-Exupéry, Lettres à l'inconnue, May 1943).It is generally known that Saint-Exupéry, who left for combat before the French version of the Little Prince appeared could only inscribe - before his departure from New York - a few rare copies of the English version. During the 16 months he spent in North Africa, where his books were banned, he had only one copy, which he "never len[t]and ma[de] people read it at [his] home, in [his room]" - even his closest friends. Nonetheless, two children from Algiers, unknown to Saint-Exupéry's biographers, had the honor of owning this extraordinary inscribed copy of what Martin Heidegger called "one of the great Existentialist books of the century."A universal fairytale if ever there was one (the Little Prince is, after the Bible, the most-translated book in the world), this hymn to travel, friendship and childhood was considered a masterpiece right from the start. It took - in the guise of a children's story - a profound look at the tragic present, revealing a more complex philosophy on the author's part than that for which his critics gave him credit at the time. Though we don't know precisely the genesis of the character - Annabella, the actress', reading of Andersen, the gift of a box of watercolors by René Clair, an idea from his publisher Elisabeth Reynal, or simply the memory of his late brother - the actual writing of this tale was heavily marked by the war, by exile, and by Saint-Exupéry's difficult relationship with the authorities of the French Resistance.Demobbed in 1940, the writer celebrated for Terre des Hommes [Wind, Sand and Stars] in 1939, sought refuge in New York where he wrote and published (in February 1942) Pilote de Guerre [Flight to Arras] in an effort to convince American public opinion of the courage of French soldiers despite their inevitable defeat. Too Philo-Semitic for some and too defeatist for others, this story, quickly banned in France, earned him the ire of both the Petainists and the Gaullists, who forced him into inaction despite the fact that North Africa had been retaken by the Allies, opening the way for renewed armed combat.Despite an intense social and emotional life, it was with a feeling of profound solitude and being misunderstood that Saint-Exupéry wrote, in 1942, the Little Prince for his publisher in New York, who had just published Mary Poppins, Eugene Reynal & Curtice Hitchcock.At the end of 1942, Saint-Exupéry added fuel to the fire by broadcasting on the radio and then publishing his Lettre aux Français [Letter to the French People] which called on Frenchmen abroad and the French in France to unite against Nazism. His call for a reconciliation and a united front without exceptions against the common enemy, his refusal to judge the choices made by a people oppressed and his implied criticism of the power struggles between the combatant parties earned him the inimitable dislike of the followers of De Gaulle, who were at the time competing for power with those of General Giraud.Accused of being overly tolerant, this radio message drew some very sharp criticism, including from a writer dear to Saint-Exupéry, the philosopher and theologian Jacques Maritain. These violent attacks on the writer obscured, for his contemporaries, the profound intimacy shared by this call to arms for adults and the tale for children which appeared a few months later.The forced exile from his country "lost somewhere in the night, all its lights extinguished, like a ship," the France that "must be savedboth in the spirit and in the flesh," the absurdity of people who drew apart even to the point of fighting among themselves and the two questions "what is a spiritual inheritance worth when there are no more heirs?" and "What good is an heir if the Spirit is dead?" of his Lettre aux Français are all themes developed in what would be the last and most important of all his books, the Little Prince; that "little book [written] only for friends, those who understand it".The latter did not fail to read the tale in light of the manifesto and would have recognized in the wisdom of the Fox warning the Little Prince, "language is a source of misunderstanding," the almost perfect echo of the fighter addressing his fellow-countrymen: "language is an imperfect instrument."Inspired by a childlike character that Saint-Exupéry doodled in the margins of his letters and notebooks and which was originally a self-portrait, the Little Prince is just as much poetic fable as philosophical testimony. In that sense, the death of the child hero of the tale, which Saint-Exupéry refused to cut to the great chagrin of his publishers, would not have been alien to his stubborn nature, which sent him hurtling to his heroic and absurd death.In essence, Saint-Exupéry had had only one preoccupation since his arrival in the United States, which was to obtain a commission in his former unit, Group 2-33, which he had immortalized in Flight to Arras. In February 1943, despite his age, despite the enmity of the Gaullists, and despite his failing health, Saint-Exupéry was finally mobilized in the "Free French Air Force", formed after the liberation of North Africa by the Americans. At the start of April, on the 12th or the 13th, he left for Algiers, never to see America again.It was at that point that the fate of the work and the fate of its author took permanent leave of each other. The Little Prince, which was meant to appear simultaneously in French and English in a translation by the publishers, was in the end published first in English on the 6th April 1943.Was Saint-Exupéry there to take part at the publication? Contemporary accounts vary. Nonetheless, we know that he signed 785 large paper copies (possibly only the justification sheets before they were bound) and, above all, inscribed a few precious copies of the Little Prince, of which only three are known:- The first, to the French actress Annabella, is in a speech bubble on the cover of an incomplete set of proofs: "I wrote this book only for friends, who would understand it, like Annabella, and if it does not please her, I will be even sadder than I am on this photographAnd I send her all my deepest and oldest love, St Ex," (the "photograph" in question is the drawing of the Little Prince on the cover) [in the Jean Bonna collection].- The second was to Dorothy Barclay, Hélène Lazareff's secretary, to thank her for her research on the number of stars in the heavens: "he'd been absolutely mad to choose this planet! It was only nice at night when its inhabitants were sleeping / The Little Prince was wrong. There are on the earth some inhabitants, whose bearing, kindness and generosity of heart make up for the avarice and egotism of the rest. For example, Dorothy BarclayIn friendly remembrance Antoine de Saint-Exupéry" [in a private collection].- We have found no trance of the third known copy, which belonged to Nelly de Vogüe.The few more or less complete typescripts were left by Saint-Exupéry in the days before his departure to his friend Nadia Boulanger, his translator Lewis Galantière, and two others we've been unable to identify.  The original manuscript, given to his lover Sylvia Hamilton, is now in the Morgan Library, while the final drawings which served to provide the printed versions were taken by Consuelo de Saint-Exupéry and are now in private hands.All these gifts and inscriptions were made in New York before Saint-Exupéry left, and - aside from the manuscript and the typescripts - were all copies of the English translation.But for Saint-Exupéry, who was absolutely uninterested in the translation of his book and whose English was so poor that he could not even understand the radio transmissions from control towers (the only phrase he knew, memorized by rote for the benefit of American Military Headquarters, was "I want to die for France"), the only edition that mattered was the one in French.  If he only inscribed copies of The Little Prince in English, that was because, no matter the precise date he embarked on the Stirling Castle, his leaving predated the printing and publication of the original French version, which was only put on sale 15 days after the English. Thus, it was not until he wrote to his publisher from Oudjda on the 8th June 1943 that Saint-Exupéry could ask how his book was doing: "I know nothing of the Little Prince (I don't even know if it's come out [in French]!)I know nothing at all; write me!"Published in a far smaller number of copies than the English version, the first edition in French, his editor replied, had already sold almost 7,000 copies by mid-summer 1943 (and 30,000 for the English version). Sales continued at almost a 1,000 copies a week.Nonetheless, despite this success (the book ran to at least three printings before the end of the summer of 1943), the French version of the Little Prince did not manage to cross the Atlantic before the death of its author.Thus Saint-Exupéry could take with him only one copy of the true "Petit Prince" specially printed for him in a hurry before his departure (as Henry Elkin, who made the crossing with him, recalled).He did not receive any more copies in Algeria where, because of his disagreements with De Gaulle, his books were simply banned, as they were by the Vichy government in France. He complained of this in his correspondence, especially to Nelly de Vogüe: "all these books coming in from America. Except mine. BANNED IN NORTH AFRICA" (December 1943); "a huge shipment of books arrived here from the States. Mine are the only ones not for sale. I am a leper" (January 1944).We know, thanks to some precious inscriptions made after his departure from the United States that Saint-Exupéry took a few rare copies of his other works to Algeria. Thus he gave his own copy of Pilote de Guerre to Henri Laugier (perhaps the only trace of a friendship - fleeting - with a Gaulliste), and another copy to the Chabberts, who hosted their friend at their house in Casablanca in 1943. But there is no trace, even in these collections, of an inscribed copy of the Little Prince in French.An episode in Saint-Exupéry's life in Algiers seems to confirm that he was not able to get hold of another copy of his precious fable.Living during the whole of his stay in Algeria with his friend Doctor Georges Pélissier, in an uncomfortable room which he did not - however - want to leave for fear of offending his host - for whom he bore a profound affection - Saint-Exupéry mentioned, in an argument with the former, the unique nature of his precious copy: writing to his host, he accuses him, in essence, of having lent his copy just when he wanted to give it to an English film producer. "I never lent it to anyone, knowing that I would need it today and why." In the absence of this sole copy, the producer left and Saint-Exupéry bitterly reproached Pélissier: "If I lose 50,000 dollars in 5 minutes, I think it's worth 30 seconds to discuss it. Where is my book?"Pélissier having confided that he'd borrowed the Little Prince in order to re-read it, Saint-Exupéry calmed down and then apologized profoundly:"Old man, don't think I'm angry at you. If you'd lent my book to someone (given that I never lend it to anyone, it being my only copy, and make people read it at home, in my room), I would have been livid. But the fact that you took it for yourself moves me deeply." Then, in a letter written "ten minutes later": "friends can't be bought even with billions. If you enjoy reading my book and Mr Korda has to wait and leave without it, I don't careKorda's money is worth what it's worth, which is to say: nothing. But I would not have lost the advantages Korda had to offer so that some no-name passerby for whom I care nothing and to whom I would not have lent my book, could read it. Which was the source of a reflex reaction that I would never have entertained if I had thought you were "enjoying" re-reading my little book."That this close friend did not have his own copy of the most important work by his guest and that the latter indicated the importance of his book never being lent out so virulently are also proof of the extreme rarity of this work in Algiers.How is it then that the only inscription on a French language copy of the Little Prince should be to a family completely absent from biographies of Saint-Exupéry?Grounded a short time after his arrival in Algiers for having destroyed a P38 on landing because of a lack of due attention (which was becoming habitual for him), Saint-Exupéry was at the time going through a period of profound despair.What's more, he was subject to humiliations by the Gaullists, who intercepted his mail, refused to publish him, prevented him from getting his commission again and accused him of Pétainist sympathies, all the while spreading the rumor in the cafes of Algiers that De Gaulle - who had already left him out of his homage to the exiled French writers - had personally rejected his request for a new commission in the fighting forces, saying: "leave him in Algiers - he's only good for card tricks, anyway."It was perhaps in this context that Commandant Saint-Exupéry was chosen "at random" to look after the children of Marcel Sturm, who had lost his wife and two of his four children during a typhoid epidemic in 1941.Head of the Protestant Chaplaincy to the armies, Marcel Sturm undertook field visits to operational sites in Algeria and Tunisia. Also the head of a Resistance network specializing in false papers, this widowed pastor had frequent "missions", which took him away from his children Malou and Jean-Michel. Sturm and his family were to leave Algeria in 1944 to go back to France and take part in the Liberation. The pastor was then named Chaplain in Chief of the occupying French troops in Germany and charged with establishing links between the French and German Churches, which earned him an honorary doctorate from the University of Göttingen. Saint-Exupéry's biography makes no mention of this foray by the pilot into "babysitting". Only the memories of the Sturm family and the inscription on this copy bear witness to this moving episode in the life of the writer.  But no matter how close the obvious affection that the precious and unique inscription on this copy represents, this third printing of the Little Prince in French cannot be Saint-Exupéry's personal copy. It may have belonged to the Sturm children, without our being able to determine exactly how they themselves got hold of it. A manuscript ex libris on the first page of text with the name "Madeleine Picinbono" may, however, give us a clue. There was, in fact, a young woman of that name and the same age as Malou, living in Algiers in 1943. Did she have the tale in her possession and did she happen to give it to her schoolmate when she found out he knew Saint-Exupéry? Or, did the Sturms make a present to this friend of this tale of hope, not to be had in Algeria, when they left to rejoin the front?The final moments of Saint-Exupéry's life are largely swathed in obscurity; and though the received wisdom has been for some time that he could not have signed any copies of the French version of the Little Prince aside from the justification leaves of the de luxe copies and a few extremely rare copies of the English version before he left New York, the existence of this improbable copy underlines the lacunae in our documentation of the last eight months of the life of the pilot.Thus, no one knows what became of his personal copy, from which he was never apart, after his disappearance on the 31st July 1944 at the controls of his Lightning plane.This third printing of the first edition in French is today the only known inscribed copy of "Le Petit Prince".But even more than a unique inscription on a major work of world literature, this mark of affection addressed to some children who had lost their mother and sisters as "the former child" Saint-Exupéry had lost his father and brother, serves to safeguard the intimate relationship of the writer and his Prince. And it is thus not far from the Little Prince's dunes of sand that the pilot, once more grounded, "tames" by a stroke of his pen this little girl and this "little boy, just like a hundred thousand other boys" and girls.The departure of his "little pal" left the writer "terribly sad." His flying ban plunged the patriotic pilot into despair. In this final year of his life, it was with the children of another man fighting for freedom, inspired by the same faith in mankind and the desire to repair the broken links between peoples, that Saint-Exupéry wove again a "single [link] to the world" before a hit from a Luftwaffe Focke-Wulf took him in his turn.Just like his Prince, we can only suppose that "he went back to his planet, since when the sun came up [they] did not find his body."  Reynal & Hitchcock New-York 1943 18,5x23cm reliure de l'éditeur sous chemise étui

      [Bookseller: Librairie Le Feu Follet]
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        Les mouches

      Gallimard. First edition, one of 18 numbered copies on pur fil paper, the tirage de têteJansenist red morocco, spine in six compartments, gilt date to foot of spine, pastedowns and endpapers in black morocco, covers and spine preserved, all edges gilt; half red morocco chemise, spine in six compartments, date in gilt at foot of spine, lined in black felt; slipcase edged in red morocco, lined in ochre feltA very elegant set magnificently bound by DuhayonA superb copy handsomely bound in a triple binding by Duhayon. Gallimard Paris 1943 12x19cm relié sous chemise et étui

      [Bookseller: Librairie Le Feu Follet]
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        BE A MARINE... Free a Marine to Fight. U.S. Marine Corps Women's Reserve....

      Philadelphia: McCandlish Litho Corporation, [1943]. Broadside, full-color half-tone printing. Poster shows a woman marine, with fighting jarheads in the background [Image: 27" x 24"]. Overall: 40" x 28" Age-toning. Faint vertical & horizontal fold-lines. VG+....

      [Bookseller: Tavistock Books]
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        I WALKED WITH A ZOMBIE (1943)

      RKO 1943 - Set of (8) eight vintage original 11 x 14" (28 x 35 cm.) lobby cards, USA. James Ellison, Frances Dee, Tom Conway, dir: Jacques Tourneur; RKO. The story (based on Charlotte Bronte's Jane Eyre) of a nurse who ventures to the West Indies to care for the wife of a plantation manager. She falls in love with him and seeks to cure the wife of her mental paralysis by involving herself in a native voodoo ceremony. A brilliant and atmospheric tale (thanks to the lighting, sets and camera work) produced by master Val Lewton. The colors are very rich, the images are scary and the graphics bold, reflecting the feel of this suspenseful classic. This is a uniformly matched set in outstanding condition. The graphics of the title card are outstanding and there is just a minor crease to the top left corner and one unnoticeable pin hole just above the "S" of "James." Otherwise, just two scene cards have tiny pin holes at each of the four corners and there are very light and minor corner creases to the cards, mostly to the bottom left edge and minor border smudging. ABOUT FINE

      [Bookseller: Walter Reuben, Inc.]
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