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

        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.]
 12.   Check availability:     AbeBooks     Link/Print  


        Wir arbeiten bei Junkers

      Heinrich Hoffmann Verlag, München 1943 - kartoniert, 109 S., Ein Bildbericht vom praktischen Sozialismus eines Deutschen Industriewerkes im Kampf um das neue Europa. Mit Original-Schutzumschlag. Dieser mit leicht sichtbaren Kleberesten, berieben und mit geringen Randläsuren. Gelenk im Vorsatz sauber repariert. Sonst gut und sauber. Sehr selten!. [Attributes: First Edition; Soft Cover]

      [Bookseller: Versandantiquariat]
 13.   Check availability:     ZVAB     Link/Print  


        The Mass Extermination of Jews in German Occupied Poland.

      London: Published on behalf of the Polish Ministry of Foreign Affairs by Hutchinson & Co.,, 1943. Note addressed to the Governments of the United Nations on December 10th, 1942, and other documents. Octavo. Original self-wraps, wire-stitched. Front wrapper faded, minor rust stains from staples. A very good copy. First and only edition. An early revelation of the methods of the Holocaust based upon the extraordinary work of Jan Karski. Karski was a remarkable figure: a graduate in law and diplomacy from Jan Kazimierz University, he served as a diplomat in Germany, Britain and Switzerland in the late 1930s, before joining the ministry of foreign affairs in 1939. Mobilised on the outbreak of war, he was captured by the Red Army, but managed to conceal his true rank and was exchanged into German hands, thus avoiding Katyn. He escaped from the train taking him into captivity, and made his way to Warsaw where he joined the resistance. He was instrumental in setting up a secret courier system to communicate with the Polish government in exile, and himself made a number of trips to France and Britain. In 1942 Karski was selected to carry this special report to Sikorski in London, detailing Nazi atrocities in Poland. In gathering eyewitness evidence he made two visits to the Warsaw ghetto, and also gained access to an extermination camp, believed by him to have been Belzec, disguised as a Ukrainian guard, a selection of which evidence is presented here. For the next three years he travelled the world, committed to publicising the plight of Polish Jewry, obtaining personal interviews with a wide range of influential figures, including Anthony Eden, Roosevelt, Cordell Hull and Felix Frankfurter, but failing to initiate any major intervention. Frankfurter said of his meeting with Karski: "I did not say that he was lying, I said that I could not believe him. There is a difference." As part of his efforts he also gave hundreds of lectures to organizations all over America, and after the war settled there, teaching Eastern European affairs at Georgetown for 40 years. In 1982 Yad Vashem recognised Karski as Righteous among Nations, and in 1994 he was made an honorary Israeli citizen; he died in 2000. A study of Karski's work, Karski: How One Man Tried to Stop the Holocaust, by Wood and Jankowski was published in 1994. An important, uncommon, and fragile pamphlet.

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


        Bread and Democracy in Germany. Latifundia perdidere Germaniam. (Inscribed by Gerschenkron to his parents and sister during World War II.)

      Berkeley & Los Angeles: University of California Press, 1943. - First Edition. viii, 1 leaf, 238 pp; 2 maps; graph. Original cloth. Some mottling of covers. Else Very Good, in torn dust jacket. Inscribed: 'To Papa, Mama, and Lydia/with love and gratitude, a/book which I hoped I would be able to/present in person. Shura/December 17, 1943'. 'Bread and Democracy in Germany is his longest single piece of published writing. Like everything he wrote, it is much less a comprehensive study than an essay. Shura [the name Gerschenkron was known by] chose big topics -- in this case the rise of German fascism -- and mastered them with muscular reading and archival research. Then, when it was time to write, he did so with a lathe, turning his ideas over and over as he honed them into lean meditations. Published in 1943, when Shura was thirty-nine, Bread and Democracy has served him as an elegant calling card among other scholars ever since. Martin Peretz picked it up as a Harvard graduate student in the 1960s and says, ‘I read it twice -- I couldn't believe how good it was.’ Writing in the New Yorker in 1991, Patrick Smith praised Shura’s book at length as a ‘classic of economic history.’ In truth, Bread and Democracy is really a classic of Austrian scholarship, a book whose eclectic intellectual pedigree makes it as much a work of political science and sociology as anything economic. The book’s subject is the Junkers, the powerful Prussian planter aristocrats who owned the sprawling wheat, oat, barley, and rye fields east of the Elbe River. The Junker landowners’ influence with the German government was such that in modern times they wrested a medieval privilege for themselves -- the right to supply all of Germany with bread grains. The grain monopoly enabled the Junker estate owners to charge wildly inflated amounts for their crops, meaning that the German population was paying double the market price for bread. Bread and Democracy argues that the tolerance of such blatant government protectionism was symptomatic of an antidemocratic sensibility in German politics that left the country vulnerable to fascism. Hitler made shrewd use of the situation. The public welcomed the dictator partly because he seemed likely to stand up to the abuses of the monied establishment. And the Nazis did spend a lot of time loudly denouncing the Junkers. Then they slipped into back rooms and cut deals with them, an insidious pattern that led Shura, writing in 1943, to conclude that ‘if the grain of the Junkers grows, the grain of German democracy will wither and perish from the earth.’ That wasn’t a bad sentence for someone with less than five years of English. It was also the closest the author would come to suggesting that the Nazis were anything more to him personally than garden variety villains' (Nicholas Dawidoff, The Fly Swatter: How My Grandfather Made His Way in the World, 2002, pp. 126-7). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Ted Kottler, Bookseller]
 15.   Check availability:     AbeBooks     Link/Print  


        The Epic of America.

      Boston : Little, 1943 - 446 S., Ill. Einbd. etwas berieben/ angeschmutzt, Eintrag auf Titelei, Schnitt etwas angeschmutzt, Seiten altersbedingt etwas gebräunt, ansonsten ordentliches Exemplar. Sprache: Englisch Gewicht in Gramm: 550 Leinen, gebundene Ausgabe, Goldprägung. [Attributes: Hard Cover]

      [Bookseller: Druckwaren Antiquariat GbR]
 16.   Check availability:     ZVAB     Link/Print  


        Incendiary Blonde (Original screenplay for the 1945 film)

      Paramount Pictures, Los Angeles 1943 - Draft script for the 1945 film. Nominated for an Academy Award for Best Musical Score.A musical drama based on the life of the famous prohibition era actress and nightclub star Mary Louise "Texas" Guinan. Guinan's family assisted in the film's production, providing access to source material and press clippings. Betty Hutton starred as the tragic performer, aside actors Arthuro de Cordova and Bill Goodwin as her two love interests. Shot on location in California and Arizona. Titled white self wrappers, dated October 8,1943, with credits for screenwriter Frank Butler. Title page integral with front wrapper. 120 leaves, with last leaf of text numbered 126. Mimeograph, with blue revision pages throughout, dated variously between 10/8/43 and 2/5/44. Pages Fine, wrapper Near Fine bound with two silver brads. Small label affixed to front wrapper and wrapped around the spine, bearing the title in manual type, now partially missing. [Attributes: Soft Cover]

      [Bookseller: Royal Books, Inc., ABAA]
 17.   Check availability:     IberLibro     Link/Print  


        The Mass Extermination of Jews in German Occupied Poland. Note addressed to the Governments of the United Nations on December 10th, 1942, and other documents.

      London: Published on behalf of the Polish Ministry of Foreign Affairs by Hutchinson & Co., 1943 - Octavo. Original self-wraps, wire-stitched. Front wrapper faded, minor rust stains from staples. A very good copy. First and only edition. An early revelation of the methods of the Holocaust based upon the extraordinary work of Jan Karski. Karski was a remarkable figure: a graduate in law and diplomacy from Jan Kazimierz University, he served as a diplomat in Germany, Britain and Switzerland in the late 1930s, before joining the ministry of foreign affairs in 1939. Mobilised on the outbreak of war, he was captured by the Red Army, but managed to conceal his true rank and was exchanged into German hands, thus avoiding Katyn. He escaped from the train taking him into captivity, and made his way to Warsaw where he joined the resistance. He was instrumental in setting up a secret courier system to communicate with the Polish government in exile, and himself made a number of trips to France and Britain. In 1942 Karski was selected to carry this special report to Sikorski in London, detailing Nazi atrocities in Poland. In gathering eyewitness evidence he made two visits to the Warsaw ghetto, and also gained access to an extermination camp, believed by him to have been Belzec, disguised as a Ukrainian guard, a selection of which evidence is presented here. For the next three years he travelled the world, committed to publicising the plight of Polish Jewry, obtaining personal interviews with a wide range of influential figures, including Anthony Eden, Roosevelt, Cordell Hull and Felix Frankfurter, but failing to initiate any major intervention. Frankfurter said of his meeting with Karski: "I did not say that he was lying, I said that I could not believe him. There is a difference." As part of his efforts he also gave hundreds of lectures to organizations all over America, and after the war settled there, teaching Eastern European affairs at Georgetown for 40 years. In 1982 Yad Vashem recognised Karski as Righteous among Nations, and in 1994 he was made an honorary Israeli citizen; he died in 2000. A study of Karski's work, Karski: How One Man Tried to Stop the Holocaust, by Wood and Jankowski was published in 1994. An important, uncommon, and fragile pamphlet.

      [Bookseller: Peter Harrington. ABA member]
 18.   Check availability:     ZVAB     Link/Print  


        Der Weg zum deutschen Sieg

      München, Zentralverlag der NSDAP Franz Eher Nachf., 1943. Vollständige Ausgabe im Original Verlagseinband (Steifumschlag / Broschur / Kartoneinband 8vo im Format 21 x 15 cm) mit farbig illustriertem Deckeltitel (Umschlagzeichnung: Arno Krause/Berlin), 30 Seiten. Aus dem Inhalt: Die große Wende - Die bolschewistische Winteroffensive 1942/43 - Der anglo-amerikanische Terror - Die Kämpfe in Nordafrika und Tunesien - Der U-Boot-Krieg und die Schlacht auf den Ozeanen - Die moralische Front des deutschen Volkes und der totale Krieg - Nur die Tat bringt den Erfolg, und der Erfolg allein beweist die Richtigkeit einer Annahme: Leistungsbereitschaft und Leistungssteigerung - Der deutsche Genius triumphiert. - Mit zeittypischen Ausführungen wie z.B.: \"Das Schicksal machte uns den Kampf immer härter. Mit den unvorstellbar grausamen Methoden bolschewistischer Kriegführung konnte kein zivilisierter Mensch rechnen. Alles das zusammen fügt uns dann gegen Ende 1942 und zu Beginn des Jahres 1943 schwere Schläge zu, d i en u re i nA d o l fH i t l e rp a r i e r e nk o n n t e ; sie kamen uns Deutschen in der großen Mehrzahl überraschend. Gewiss, wir Nationalsozialisten wussten, daß der Kampf mit den Juden hart auf hart geht, daß nur äußerste Verbissenheit und Zähigkeit gegenüber Juda den Sieg davontragen. Wir hatten es zu oft in heißen Saalschlachten vor der Machtübernahme erlebt, wie gemein, hinterhältig und hartnäckig der Jude sein kann...\" Die Schrift schließt mit den Worten: \"... im vierten Kriegsjahr die große Wende zum endgültigen Sieg Deutschlands vollzogen. Wenn der Sieg greifbar nahe ist, ist es kein Kunststück mehr, von einer großen Wende zu reden, aber wenn die Gegner scheinbare Erfolge erzielt haben und in hysterisches Triumphgeheul verfallen, dann bedarf es der Überlegungen des kühlen und bloßen Verstandes, um die tatsächlichen Chancen richtig werten zu können. Das habe ich durch meine Ausführungen klarzulegen versucht, das habe ich auch in meiner ganzen Arbeit während des Krieges - sowohl als Reichsorganisationsleiter der NSDAP. als auch als Leiter der Deutschen Arbeitsfront - dem deutschen Menschen, insonderheit dem deutschen Arbeiter, immer wieder vor Augen gehalten. I c hg l a u b ea nD e u t s c h l a n d ,u n di c hg l a u b ea ns e i n e nS i e g ,w e i li c hd e mF ü h r eri nu n v e r b r ü c h l i c h eT r e u ev e r s c h w o r e nb i n .E sl e b ed e rF ü h r e r ! Dr.R.Ley\" / \"Der hochwertigste Bolschewist ist in allen immer noch niedriger als der geringste deutsche Mensch\" - Später Kriegsdruck / Erste Auflage, EA, Erstausgabe in guter Erhaltung (hinterer Einband und letztes Blatt etwas feuchtigkeitsfleckig, Bindung lose, sonst gut). - Deutsches / Drittes Reich, Großdeutschland im 2.Weltkrieg, totaler Krieg, Durchhalteparolen für deutsche Menschen, Reichsleiter Dr.Ley, Nationalsozialismus, Antisemitismus, Kampf gegen Juda und Bolschewismus, Antibolschewismus, Bolschewistenhäuptling / der hinterhältige Steppenwolf Stalin, barbarische Luftangriffe auf offene deutsche Städte, teuflischer Sadismus Englands gegen deutsche Kinder Frauen und Greise, der völkische Gedanke der Bluts-und Schicksalsgemeinschaft tief im deutschen Menschen verwurzelt, nationalsozialistische Leistungsgemeinschaft, Rassenlehre des Nationalsozialismus, NS.-Schrifttum, völkisches / nationalsozialistisches Gedankengut Versand D: 5,90 EUR Deutsches / Drittes Reich, Großdeutschland im 2.Weltkrieg, totaler Krieg, Durchhalteparolen für deutsche Menschen, Reichsleiter Dr.Ley, Nationalsozialismus, Antisemitismus, Kampf gegen Juda und Bolschewismus, Antibolschewismus, Bolschewistenhäuptling / der hinterhältige Steppenwolf Stalin, barbarische Luftangriffe auf offene deutsche Städte, teuflischer Sadismus Englands gegen deutsche Kinder Frauen und Greise, der völkische Gedanke der Bluts-und Schicksalsgemeinschaft tief im deutschen Menschen verwurzelt, nationalsozialistische Leistungsgemeinschaft, Rassenlehre des Nationalsozialismus, NS.-Schrifttum, völkisches / nationalsozialistisches Gedankengut

      [Bookseller: Galerie für gegenständliche Kunst]
 19.   Check availability:     buchfreund.de     Link/Print  


        Teuton Torturers a pictorial record of 1000 years of Jewish persecution in Germany

      Allied Book Club Limited [1943], London - illustrations (including facsimiles) [Attributes: Soft Cover]

      [Bookseller: Meir Turner]
 20.   Check availability:     AbeBooks     Link/Print  


        These Happy Golden Years

      New York: Harper & Brothers Publishers, 1943. First Edition. Hardcover. Very Good. Stated first edition, first printing with publisher's date code of "A-S." Near Fine with light reading crease to spine, previous owner name stamp to front paste down, offsetting to end sheets and light toning to pages. In a Near Fine dust jacket with publisher's original price of $2.00 intact, toning, fading to spine panel, light soiling and light edge wear. The eighth book in Laura Ingalls Wilder's Little House series--originally intended to be the last title, though one more would follow.

      [Bookseller: Burnside Rare Books]
 21.   Check availability:     Biblio     Link/Print  


        FOR WHOM THE BELL TOLLS (1943)

      Paramount 1943 - REVISED FINAL, JULY 20, 1942. The famous screen adaptation which starred Gary Cooper and Ingrid Bergman, directed by Sam Wood. Studio mimeograph, self-wrappers, the original two staples are missing, and so the pages are loose, 202 pp. the title page and the final page are a bit fragile, overall VERY GOOD+. This film, when released in 1943, had an epic running time of 170 minutes, but this script's massive length implies an even longer film, which in turn suggests that some of the scenes in this script were either never shot or else were not included in the finalized version.

      [Bookseller: Walter Reuben, Inc.]
 22.   Check availability:     AbeBooks     Link/Print  


        Handleiding om op verschillende wijzen de breedte buiten den middag of meridiaan te vinden, door waarnemingen aan de zon of starren. Groningen, R.J. Schierbeek, 1827. 8vo. With a lithographed folding plate and numerous letterpress tables (numbered I-VI, but some spread over several pages). Contemporary boards, covered with red sprinkled paper, rebacked with brown paper tape.

      - Bierens de Haan 1943; Cat. NHSM, p. 687; Crone Library 807, cf. pp. xlvii-xlviii; Maritieme Gesch. der Nederlanden III, p. 216; Picarta (2 copies); Saakes VIII, pp. 371-372; WorldCat (same 2 copies). Very rare first edition of a guide introducing Hazewinkel's method of calculating latitude, which was subsequently implemented as the standard method in the national Dutch marine and remained in use until the end of the 19th century. This method by Abraham Cornelis Hazewinkel (1772-1842), a ship's captain who established a Dordrecht school for training sailors in 1817, was also invented simultaneously, but independently, by the Dutch mathematician Rehuel Lobatto (1797-1866), and is known as the Lobatto-Hazewinkel method. It replaced the longer method of Cornelis Douwes, introduced in the late 18th century. An equally rare second edition, published in 1839, was reprinted in facsimile in 1992.With a library stamp on title-page, some occasional foxing, one leaf slightly soiled in the lower margins, binding slightly rubbed and rebacked, with the top of the spine torn. Good nearly untrimmed copy, with most of the deckles intact.

      [Bookseller: ASHER Rare Books]
 23.   Check availability:     ZVAB     Link/Print  


        A Song about Tsar Ivan Vasilyevich, the Young Oprichnik, and the Valorous Merchant Kalashnikov].

      Goslitizdat Moskva 1943 - Folio (33 x 24 cm). 20 pp., illustrated throughout in B&W. Publisher's wrappers; small marginal tears, corners slightly creased. One of the Bilibin's last works in book illustration; unusually fine edition published during the outbreak of the Second World War. The "Song of the Merchant Kalashnikov" is a poem by Mikhail Lermontov written in 1837 in the manner of bylina, the Russian folk epic. The plot of the poem is set during the times of Ivan the Terrible and Oprichnina. Ivan Bilibin (1876 – 1942) was a member of the renown artistic circle "Mir Iskusstva" and one of the most famous illustrators of children's books both in and out of Russia and. This Lermontov's work captivated the artist's imagination when he was still a young man. In 1904 Bilibin illustrated two episodes from the poem - "Kiribeyevich and Alena Dmitriyevna" and "A feast the the Ivan the Terrible's". More than 30 years later, in 1938, Bilibin received an order from the state publisher to illustrate the whole book. The first edition was published in 1941 followed closely by the second in 1943. Fine and expensive production of the book comes as a surprise given that the country was badly affected by the ongoing war. Indeed, the Soviet government knew well that books with the right message were a powerful source of courage and patriotism in the difficult times. [Attributes: First Edition; Soft Cover]

      [Bookseller: Shapero Rare Books]
 24.   Check availability:     ZVAB     Link/Print  


        Blick über Eisenach mit dem Stadttor und der Nikolaikirche zur Wartburg.

      - Bleistift, auf chamoisfarbenem Velin. 36,5:53,5 cm. – Zu den Rändern hin leicht vergilbt, drei Ecken mit kleinen Fehlstellen sowie einem Farbfleck. Provenienz: Aus dem Nachlaß des Künstlers, der 1943-1993 im Schloßmuseum Weimar verwahret wurde. Inv. 71. Der Landschaftsmaler und Radierer Carl Hummel war 1834-1842 Schüler an der Weimarer Zeichenakademie bei dem Maler und Radierer F. Preller d.Ä. (1804-1878), der Hummels spezielle Vorliebe für die „heroische Landschaft" prägte. Gemeinsam mit Preller unternahm er 1839-1841 Studienreisen nach Holland, Norwegen, Rügen und nach Tirol. Neben dem Studium bei Preller machte er zudem bei J.B. Schwerdgeburth (1759–nach 1822) eine Ausbildung zum Kupferstecher. 1842 reiste er nach Italien; in Rom, auf Capri und Sizilien hielt er sich längere Zeit auf. 1844 kehrte er in seine Geburtsstadt zurück. 1845-1846 besuchte er erneut Rom, danach reiste er in die Schweiz. 1855 erfolgte auf Einladung des Erbprinzen Georg von Meiningen ein Aufenthalt auf dessen Villa Carlotta am Comer See. 1859 wurde er als Professor an die Weimarer Zeichenschule berufen. 1869 unternahm er eine Reise nach Korsika, in den folgenden Jahren jedoch meist nur noch Reisen in die Mittelgebirge. Hummel, Sohn des gefeierten Pianisten und Komponisten Johann Nepomuk Hummel, zählt zu den bekanntesten Künstlern seiner Heimatstadt. Sein Vater war von Maria Pawlowna (1786-1859), Großfürstin von Rußland, Erbprinzessin von Sachsen-Weimar und Großherzogin von Sachsen-Weimar-Eisenach 1818 als Kapellmeister nach Weimar berufen worden, eine Stellung, die er bis 1838 innehatte. Die Großfürstin, die nach ihrer Heirat 1804 aus St. Petersburg nach Weimar kam, förderte mittels ihrer reichen Mitgift in besonderer Weise Musik, Theater, Bildende Kunst und Literatur und verhalf damit dem zwar geistig und literarisch hoch entwickelten, aber verarmten Hof zu neuem Aufschwung. Auch Carl erhielt bekanntermaßen von der Großfürstin einige Aufträge.

      [Bookseller: Galerie Joseph Fach GmbH]
 25.   Check availability:     ZVAB     Link/Print  


        MA

      Shanghai: J. M. Ellenberg, 1943. Original paper wrappers. 8vo. 36 pages each volume, 22 cm. In Hebrew. Title translates to

      [Bookseller: Dan Wyman Books LLC]
 26.   Check availability:     maremagnum.com     Link/Print  


        Plástica Constructiva Elementarista

      Montevideo, Taller Torres-García 1943 - 4 manifiestos publicados con motivo de la primera exposición de obra constructiva (duodécima exposición del Taller Torres García) en Septiembre de 1943. Muy raros de ver, sobretodo los 4 juntos. [Attributes: First Edition]

      [Bookseller: Largine]
 27.   Check availability:     IberLibro     Link/Print  


        A Saudi Arabian Note Book

      1943. DE GAURY, [Gerald]. A Saudi Arabian Note Book. [8], 50 pp. Illustrated with 39 black and white photographic plates, plus a map and 2 fold-out genealogical tables. 4to., 234 x 170 mm, bound in publisher's black and blue designed wrappers in a new blue cloth folding box. Cairo: Imprimerie Misr., 1943. |~||~||~||~| First Edition. A rare photo book and guide to Saudi Arabia authored by British officer and Arabist, Gerald De Gaury. De Gaury (1897 - 1984) was granted permission by Ibn Saud to visit the closed country and he became one of the rare British visitors to Riyadh at that time. As stated in the foreword: "Photography is still unwelcome to many of the inhabitants, and it was only after receiving special permission that the photographs in this book were taken." Worldcat finds two copies in the U.S. at NYPL and Georgetown. A near fine copy.

      [Bookseller: Ursus Rare Books]
 28.   Check availability:     Biblio     Link/Print  


        Sammlung von 51 privaten Photos eines deutschstämmigen Soldaten der Hagana und Notrim im damaligen Mandatsgebiet Palästina.

      Palästina ca. 1938 bis 1943. - Militärische Photosammlung eines deutschstämmigen Juden im damaligen Mandatsgebiet Palästina. Einige Photos mit deutschsprachigen Beschriftungen und teils mit Photostudiostempeln auf den Rückseiten (Photo Spezial Kaufman, Tel-Aviv; Photo Brenner Haifa; Photo Sonia; Photo Mordhai Haifa; Foto SPORT, Tel-Aviv), 3 Photos mit Datierungen: 1938, 1942 und 1943. Einige Photos mit Namensnennungen der Abgebildeten: Ephraim Rosenzweig, Sry Kesnik und Kurt Humberg, ledigleich einmal eine Ortsnennung: Kalkilia. Allerdings gehören zur Sammlung auch 2 Bilder von Gizeh (wahrscheinlich von einem Ausflug zu den Pyramiden). Aufnahmen der Hagana und der Notrim (jüdische Polizeitruppe im Völkerbundsmandat für Palästina), bei der Wache und bei Kontrollgängen, wohl auch Aufnahmen verschiedener Kibbuzim, einige Photos zeigen zu militärischen Nutzen umfunktionierte Transportmaschinen, teils auch auf Eisenbahnschinen, beim Straßenbau, LKWs, verunglückte Autos etc. Es könnte sich um eine Einheiten der Jewish Settlement Police (J.S.P.) handeln, einer Unterabteilung der Notrim. 1936 im Völkerbundsmandat für Palästina gegründet, wurden die Soldaten der J.S.P. aus der Hagana rekrutiert und zu einer Elitetruppe ausgebildet. Die Mitglieder der J.S.P., bekannt als Nodedot, wurden von ihrem Kommandant Jitzchak Sadeh für eine unkonventionelle Kriegsführung trainiert. Diese zeichnete sich durch ihre hohe Mobilität und überraschende Angriffe aus. Die J.S.P. war bei den Arabern sehr gefürchtet. Eine spannende private Sammlung vor der Gründung des Staates Israel zumal von einem deutschstämmigen Angehörigen dieser Einheit! Meist im Kleinformat (ca. 6x9 cm) und einige wenioge im Mittelformat (ca. 14x9 cm). Meist etwas ausgeblichen, gelegentliche leichtere Knickspuren, sonst eine gut erhaltene Sammlung.

      [Bookseller: Antiquariat Thomas Mertens]
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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) Sprache: Deutsch Gewicht in Gramm: 2000 [Attributes: First Edition; Soft Cover]

      [Bookseller: Galerie für gegenständliche Kunst]
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        The Big Rock Candy Mountain

      New York: Duell, Sloan and Pearce, (1943). First Edition. Hardcover Hardcover. Very Good/Very Good. 515 pages. Stegner's attempt at the Great American Novel, a tragedy of a family striving for the American dream but ending up in shady, half-baked schemes. Stegner's first big book. According to Colberg, Wallace Stegner: A Descriptive Bibliography, the first printing was around 15,000 copies (A7.1.a). A very good copy in a very good dust jacket with light wear to the edges. This copy is inscribed, 'To Staunton Calvert, with warm remembrances. Wallace Stegner. Breadloaf, Aug. 20, '44.' Calvert appears to have been an aspiring writer from Washington, DC, who published a bit here and there. Below Stegner's signature is a second inscription, probably from one of Calvert's fellow students: 'and the best of regards Lewis Lofton Moneyway - 'Jim'.' Moneyway worked at the Post Office in Washington, DC, and lived at the University Club, where he wrote plays and musicals for the members. A somewhat uncommon book signed, particularly with a contemporary inscription.

      [Bookseller: Eureka Books, ABAA]
 31.   Check availability:     Biblio     Link/Print  

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