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Displayed below are some selected recent viaLibri matches for books published in 1945

        Paris relief - Histoire de Paris des origines à nos joeur

      Paris, Edition Chantecler, 1945, Gebundene Ausgabe, Ganzleineneinband, 80 Seiten, 8 ganzseitige Farbtafeln, 100 Bilder, mit Brille, Stadtplan als Beilage, AUFLAGE 500, Einband etwas verfärbt, Gelenk zur Schauseite hin aufgeplatzt, Bindung gelockert, Zustand 3 (P58) (P58)

      [Bookseller: Antiquariat Ehbrecht - Preis inkl. MwSt.]
 1.   Check availability:     booklooker.de     Link/Print  


        Paris relief - Histoire de Paris des origines à nos joeur,

       1945. Paris, Edition Chantecler, 1945, Gebundene Ausgabe, Ganzleineneinband, 80 Seiten, 8 ganzseitige Farbtafeln, 100 Bilder, mit Brille, Stadtplan als Beilage, AUFLAGE 500, Einband etwas verfärbt, Gelenk zur Schauseite hin aufgeplatzt, Bindung gelockert, Zustand 3 (P58) (P58) Versand D: 6,00 EUR

      [Bookseller: Antiquariat Ehbrecht]
 2.   Check availability:     buchfreund.de     Link/Print  


        Le sursis - Les chemins de la liberté II

      Later edition.Half maroon morocco over marbled paper boards by Goy & Vilaine, spine in six compartments, gilt date to spine, marbled endpapers and pastedowns, top edge gilt, covers and spine preserved. Autograph inscription signed by Jean-Paul Sartre to Geneviève Calliat. Gallimard Paris 1945 13x20,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Black and white photo signed by three Hiroshima mission pilots

      n.p., n.d.. 10" x 8". "A spectacular black and white glossy photo of Hiroshima after the bombing on August 6, 1945, 10"" x 8"". Boldly signed and inscribed by three of the significant pilots from the event, in black ink, George W. Marquardt, as ""Gge Marquardt / Pilot #91 ""Necessary Evil"", in blue ink, Paul Tibbets as ""Paul Tibbets / Pilot ""Enola Gay"", and in blue ink, Major Charles W. Sweeney as ""Charles Sweeney / Pilot ""The Great Artiste"". Near fine condition.An incredible three times signed iconic photo of the devastation created after the release of ""Little Boy"", the atomic bomb carried on board the Enola Gay, which targeted Hiroshima, piloted by Colonel Paul Tibbets. The explosion wiped out 90 percent of the city and immediately killed 80,000 people; tens of thousands more would later die of radiation exposure. Three days later, Major Charles W. Sweeney was to command the mission carrying the second A-Bomb, ""Fat Man"" to Kokura in his plane The Great Artiste. But The Great Artiste was still outfitted with scientific gear left over from being the support plane for the Hiroshima mission and there wasn't time to outfit it to carry Fat Man. So Sweeney and his crew took over Captain Frederick C. Bock, Jr.'s plane ""Bock's Car"", while Bock's crew switched to ""The Great Artiste"". Difficult weather conditions resulted in the ""Fat Man"", being dropped on Nagasaki, killing an estimated 40,000 people. ""Necessary Evil"", referred to as Plane #91 and piloted by Marquardt, was assigned as a camera plane to photograph the explosion and effects of the bomb and to carry scientific observers.The Hiroshima mission may have gone without a hitch, but Nagasaki's mission was riddled with complications. The details of the two events could not be more bifurcated. From the beginning, the mission that resulted in the atomic bombing of Hiroshima overshadowed Nagasaki. When a second mission was approved, Kokura was the primary target and Nagasaki was the secondary target.The Hiroshima mission went off smoothly, the flight was uneventful, the weather cooperated, and at 8:15 A.M., bombardier Major Thomas W. Ferebee released Little Boy. The Enola Gay landed uneventfully at Tinian. The crew was greeted by an excited crowd. Pilot Paul W. Tibbets, Jr. was awarded the Distinguished Service Cross by General Spaatz. Following the ceremony the fliers were feted at a star-studded debriefing where General LeMay told the men, ""Kids, go eat, take a good shower, and sleep as much as you want!""The Nagasaki mission couldn't have been more different. Originally scheduled for August 11, 1945, the mission was advanced to August 9 due to weather concerns. That day, when one would have expected all attention to be focused on the Nagasaki strike, yet another ceremony took place to honor Tibbets and the crew of the Enola Gay.There was some confusion at the outset of the Nagasaki mission. Major Charles W. Sweeney was to command the mission in his plane ""The Great Artiste"". But ""The Great Artist"" was still outfitted with scientific gear left over from being the support plane for the Hiroshima mission and there wasn't time to outfit it to carry ""Fat Man"". So Sweeney and his crew took over Captain Frederick C. Bock, Jr.'s plane Bock's Car, while Bock's crew switched to The Great Artiste.Fat Man was aptly named. Bock's Car was overloaded by the heavy bomb. The plane lumbered down the runway. Everyone on Tinian had seen B-29s overloaded with mines and explosives crash and explode at the end of the runway when just one engine failed. The crew must have been holding their breadth watching the plane loaded with the bomb finally lift off. Sweeney and his crew were under orders to only bomb visually. When they got to Kokura they found the haze and smoke obscuring the city as well as the large ammunition arsenal that was the reason for targeting the city. They made three unsuccessful passes, wasting more fuel, while anti-aircraft fire zeroed in on them and Japanese fighter planes began to climb toward them. The B-29s broke off and headed for Nagasaki. However, because the city was built in hilly, almost mountainous terrain, it was a much more difficult target than Hiroshima. Clouds covered Nagasaki when ""Bock's Car"" arrived. Contrary to orders, weaponeer Ashworth determined to make the drop by radar if they had to due to their short fuel supply. At the last minute a small window in the clouds opened and bombardier Captain Kermit K. Beehan made the drop at 10:58 A.M., Nagasaki time. ""Fat Man"" exploded at 1,840 feet above Nagasaki and approximately 500 feet south of the Mitsubishi Steel and Armament Works with an estimated force of 22,000 tons of TNT. Unlike Hiroshima, there was no firestorm at Nagasaki. Despite this, the blast was more destructive to the immediate area, due to the topography and the greater power of Fat Man. The crew of Bock's Car should have felt some release from tension, but they had only 300 gallons of fuel remaining—not enough to get them back to Tinian, and perhaps not even to Okinawa. Sweeney had his radio operator, Sergeant Abe M. Spitzer, contact the air-sea rescue teams to alert them to the possibility of ditching. There was no answer. The rescue teams had shut down, apparently deciding Bock's Car had long returned to Tinian. When they reached Okinawa, repeated attempts to raise the tower for landing instructions went unanswered. Sweeney watched other planes taking off and landing, but knew he didn't have enough gas for protracted circling. He set off flares and finally somebody on the ground noticed. Bock's Car landed at two P.M. local time. The number two engine ran out of fuel while they were on the runway.They had a total of seven gallons of fuel left. No one was on hand to greet them. There was no ceremony. No one had even thought to have food ready for the famished crews who hadn't eaten in almost twenty-four hours.An incredible photo signed by three significant pilots from the Hiroshima mission, a very thought provoking time in history. To this day it still begs the question regarding how this event should have, or could have been handled. However, the intended result was achieved after the second bombing, and Japan announced its surrender to the Allies on August 15, six days after the bombing of Nagasaki ."

      [Bookseller: University Archives]
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        A l'amitié

      1945. - Paris 1945, 18x21,5cm, broché. - Prima disegnare illustrazioni di André Warnod, una delle 625 copie numerate su Johannot. autografo preziosa firmata e datata da Francesco Carco al suo amico pittore André MONTMARTROIS Dignimont: "In un primo momento Dig" Grand Meaulnes "in memoria di Alain Fournier, molto affettuosamente. La nostra copia è arricchita con una precisione scritto a mano Francesco Carco, che ha aggiunto il nome di Guillaume Apollinaire alla lista dei poeti che hanno dedicato questa poesia. Bella copia. - [FRENCH VERSION FOLLOWS] Premier tirage des illustrations d'André Warnod, un des 625 exemplaires numérotés sur Johannot. Précieux envoi autographe daté et signé de Francis Carco à son ami le peintre montmartrois André Dignimont : "Au cher Dig du "Grand Meaulnes" en souvenir d'Alain Fournier, très affectueusement. Notre exemplaire est enrichi d'une précision manuscrite de Francis Carco qui a ajouté le nom de Guillaume Apollinaire à la liste des poètes à qui est dédié ce poème. Bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        und zeugen von einem stolzen Geschlecht.

      Oslo, 1945 - 150 S. Gut erhalten. Einband randig gebräunt und braunfleckig, Ecken bestoßen und aufgeplatzt, untere Rückenkante mit kleinen Einrissen, Kanten etwas bestoßen. Schnitt gebräunt, Vorsätze etwas fleckig. Widmung a. V. überklebt, nachträglich eingeklebter Titel a. Schmutztitelblatt. Sprache: Deutsch Gewicht in Gramm: 395

      [Bookseller: Buecherhof]
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        Animal Farm. A Fairy Story.

      London: Secker and Warburg, 1945. FIRST EDITION. Octavo, pp.92. Elegantly bound in green full morocco, spine gilt-lettered in six compartments with raised bands, top edge gilt, section of blank leaves bound in to give the book a more pleasing thickness, marbled endpapers, original spine bound in. A fine copy in an attractive recent leather binding. Orwell's magnificent allegorical novella is one of the most famous satires in the English language and was included among Britannica's Great Books of the Western World. Winner of the 1946 'Hugo' Award [Fantasy Achievement Award] (Best Novella category).

      [Bookseller: Adrian Harrington]
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        Thalassa dans le désert

      - Fontaine, Paris 1945, 11,5x14cm, broché. - Prima edizione, uno degli ex Archi numerate 25, la nostra ingiustificata, testina di stampa. Modello Mario Prassinos basa su una composizione originale di Max Ernst. Incollato un piccolo strappo nel piede posteriore, macchie marginali luce sulla seconda, piacevole stato interiore piatto. Rare. - [FRENCH VERSION FOLLOWS] Edition originale, un des 25 ex numérotés Arches, le nôtre non justifié, tirage de tête. Maquette de Mario Prassinos d'après une composition originale de Max Ernst. Une petite déchirure recollée en pied du dos, légères piqûres marginales sur le deuxième plat, agréable état intérieur. Rare.

      [Bookseller: Librairie Le Feu Follet]
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        Animal Farm A Fairy Story

      London: Secker and Warburg, 1945.. FIRST EDITION. Octavo, pp.92. Elegantly bound in green full morocco, spine gilt-lettered in six compartments with raised bands, top edge gilt, section of blank leaves bound in to give the book a more pleasing thickness, marbled endpapers, original spine bound in. A fine copy in an attractive recent leather binding. Orwell's magnificent allegorical novella is one of the most famous satires in the English language and was included among Britannica's Great Books of the Western World.

      [Bookseller: Adrian Harrington Rare Books]
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        Brûlant secret

      First edition in French, one of 26 numbered copies on Arches paper, this copy justified "Arches", the tirage de tête after 12 on Montval.Half red morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, brown paper endpapers and pastedowns, ccovers and spine preserved.A very good copy with good margins and nicely bound. Grasset Paris 1945 13x21cm broché

      [Bookseller: Librairie Le Feu Follet]
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        BRIDEHEAD REVISITED : The Scared and Profane Memories of Captain Charles Ryder

      Little, Brown and Company, Boston 1945 - Very Good+ in a Very Good+ dust jacket. First Edition, same date appears on title page as well as copyright page. Toning to pages. Scuffing to front and rear panels. Edge wear. ; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Rare Book Cellar]
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        Brideshead Revisited - Bound in full red leather

      Chapman and Hall, 1945 A first edition, first printing published by Chapman and Hall in 1945. A very good copy with marbled endpapers, bound in red full morocco leather with raised bands and gilt titling. Small blindstamp to the title page. Some light spotting to the page edges. A lovely copy and superbly rebound.

      [Bookseller: John Atkinson Books]
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        La famosa invasione degli orsi in Sicilia.

      Milano, Rizzoli, 1945, 8vo cartonato editoriale, sovraccoperta illustrata a colori facsimilata, pp. 150 con dodici illustrazioni in nero e sedici a colori tutti dell'autore. Prima edizione. Qualche leggera traccia d'uso, carta normalmente ossidata per l'epoca.

      [Bookseller: Libreria Piani già  Naturalistica]
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        Photograph album kept by a British sailor, containing original photographs showing Berlin in the aftermath of war and V2 rockets at Cuxhaven.

      Berlin, Cuxhaven & Herford, Germany: , 1945. Landscape octavo (260 x 340 mm). Black cloth commercial photograph album, gilt lettered "Photographs" on front cover, black cord ties through tubular brass studs. 28 original snapshot photographs of Berlin, Cuxhaven and Herford in 1945 (80 x 103 mm or "4 x 3s" or 60 x 63 mm); 8 sepia propaganda photographs (113 x 155 mm) of the Reich Chancellery (typed "Reichskanzlei" on versos); 7 photographic postcards (various sizes) of Berlin; 48 postcards of various locations in Germany; one official unit photograph (stamped "Wright & Logan, Southsea"); all pasted on both sides of black card stock leaves and the original snapshots carefully annotated in pen (at the periphery of image), Binding just a little rubbed at extremities, a few light marks to cover otherwise in very good condition. Arresting album containing a series of six fascinating original photographs taken at the V2 rocket site at Cuxhaven - such original and personal images are decidedly uncommon - by a Royal Navy sailor serving with a torpedo depot at Herford, north east of Bielefeld (modern day North Rhine-Westphalia) in the British Zone of Occupation. Of these, four show damaged missiles lying on a forest track, with who we presume to be the album's owner posing in two images (wearing a Royal Navy sheepskin); another shows a launch gantry, a railway track, abandoned trucks, a German 88mm flak gun, and distant bunkers; and finally, there is an image of three V2 rocket engines in situ (one clearly marked "KX"). It is highly likely that the unidentified sailor was involved in Operation Backfire, the secret British plan to test launch the V2. "The first theoretical preparations for a planned test launch of captured V2 rockets started in mid-May [1945]. An old military training ground near Cuxhaven was chosen as the location. The taskforce set up camp in the former barracks of the Altenwalde navy artillery shooting range at the beginning of July, starting the planning stage... more than a hundred of Wernher von Braun's team came together in Altenwalde in summer 1945. Their new employer, however, was a British infantry general. The aim of Operation Backfire, as the British called their undertaking from now on, was to assemble around thirty V2 rockets out of existing and requisitioned material and to shoot them, so as to obtain 'a thorough evaluation and documentation of the rockets'... It was clear by the end of September that only eight rockets could be provided for the intended test launches, rather than the originally planned thirty,. Nevertheless, the final phase of Operation Backfire went ahead. Following two failed takeoffs, the first V2 once again shot into the stratosphere above North Germany on 2 October 1945. After two more successful launches on 4 and 15 October, the British brought the Backfire experiment to a close" (Bode & Kaiser, Building Hitler's Missiles, 2008, pp. 104-05). The five volumes of the official report on Operation Backfire are available to view online at Smithsonian Libraries. These show that the only part played by the Royal Navy was in the transportation of hydrogen-peroxide from Kiel to Cuxhaven "in an A-4 hydrogen-peroxide road tanker" (volume I p. 17). In three other photographs the Royal Navy sailor is pictured with a vehicle and at the wheel of a jeep. In addition there is a series of eleven photographs of a devastated Berlin (and one of Hamburg), with one inscribed "where we couldn't cross the Spree"- showing the demarcation barrier between British and Soviet sectors in the Tiergarten district; two showing the album's owner posing with his vehicle on the road; eight taken at Herford and annotated "NP [Naval Party] 1812": NP 1812 was the Royal Navy Torpedo Depot based at Herford between August 1945 and November 1946, when it was amalgamated with NP 1749. "Royal Navy personnel played an extremely important part in BAOR [British Army of the Rhine] in the immediate aftermath of hostilities? There was a significant Royal Navy presence in the then British Zone of Occupation? Manpower for the individual locations [where Navy personnel were stationed] was provided, in accordance with Royal Navy practice, in the form of Naval Parties numbered in the series 1700-1899 and varied in size? reflecting the size and complexity of the role and tasks" (baor-locations.org). In all, this is attractive documentation of an under-recorded and significant contribution to the post-war effort to reverse-engineer Nazi technological advances.

      [Bookseller: Peter Harrington]
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        Lettres à un ami allemand

      First Edition, one of 25 numbered copies on "pur-fil" paper draw head. The book Camus dedicated to his friend René Leynaud. Rare and nice copy.  Gallimard Paris 1945 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        SICILIA 1945

      ELI, CREMONA 1945 - ITALIANO Pagine leggermente ed uniformemente brunite causa tempo, coperta morbida ingiallita, con fioritura e con lievissimi segni di usura

      [Bookseller: Biblioteca di Babele]
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        My Book

      OFFERING: The sole example of a personal artists' book made as an affirmation of beauty in 1945 by an accomplished British woman artist identified by two ciphers, PKB and PB, and probably living in the county of Dorset in South West England. Made in protest against war industrialization and rampant pollution, the artist has matched 7 linoleum block prints, 6 watercolors, and 12 illustrations and decorations done in pen & ink with pastoral poetry. Poetry is by the artist, with the exception of "I Love All Beauteous Things", the Robert Bridges poem that begins the work and proclaims her aesthetic. Many of the artworks are exquisite and the balance of line and space in the linocuts demonstrates a mastery of the medium. Calligraphy is in the Trajan style with simple line-ending flourishes. Color inks, for the title page, verse title headings and some first initials match the principal color of the coupled illustration or decoration. The light green flock endpapers are decorated with original pen & ink botanical designs, different for each side. The book jacket is decorated with an original span & branch design done with five colors of ink. Preserved loose are a handwritten outline, 4 linocuts, (two intended for insertion), and preparatory calligraphy and decoration studies. PAGINATION: 24 unnumbered leaves, 14 with illustration and decoration, 10 blank. FORMAT: Sewn half black cloth and blue paper boards and the hand decorated jacket. SIZE: 290 x 200 mm. CONDITION: Bound Artworks: Fine. / Pages: bright and clean, pp. 2-5 with ruffling along gutter. / Boards: upper side bowed. / Jacket: colors somewhat faded on upper side; 2 corners with tears and top and bottom edges with small tears, top edge with gentle crease; spine toned, substantial losses at head and foot. / Binding: solid and reliable, but some signatures with separation, one signature with binding creases; needs to be handled with care. / Loose Linocuts: "Fungus": Plate fine, margins with wear. "Summer": Fine. "The First Snowdrop": Plate fine, outer margins with light wear. "Plane Tree and Downs": Poor. Plate: some wear. Sheet edges with crinkle-folds, a small stab hole near border. / Sketchbook Sheets: Fine. AESTHETIC: affirms the beauty of the English countryside; "I love all beauteous things / I seek and adore them; / God hath no better praise, / And man in his hasty days / Is honoured for them. / I too will something make / And joy in the making; / Altho' tomorrow it seem / Like the empty words of a dream / Remembered on waking." [Bridges, Shorter Poems, p. 67] ENDPAPERS: designs in green inks. Front: young plants with root balls in cloth, stems as gracefully bending vectors, set off against small kidney-shaped garden stones / Rear: coupled hemlock cones with needles fanned out below, like butterfly wings set on spider legs. MOUNTED LINOCUTS: on handmade papers, tipped on, margins trimmed to fit. "In inter-war England, it is possible to propose an alternative eclectic modernism dominated by women designers and based on hand processes." [Harrod, Crafts in Britain in the twentieth century, p. 11] 1) Frontispiece, "An Underwater Landscape", five colors, initialed in the plate, two fish amidst grasses, sedges, rushes, and ferns. 2) "Fungus", b/w, initialed in the plate, mushrooms on a forest floor clearing, a central, outsized mushroom done with finely rendered gills; in the background, a dense stand of trees. 3) "The First Snowdrop", b/w, initialed in the plate, a night scene with a stand of trees dusted with snow on the far side of a tranquil river, their reflections seen as spectral outlines, matching the pale moonlight. CENTERPIECE: "The Mist Maiden", the second poem (Leaves 5-9) with its series of exquisite decorations and illustrations, beginning with a separate, 9-colors watercolor frontispiece, "Wildflowers in a Wood" with asphodel, butterwort, cotton grass and Lady's slipper orchid, and a sequence of six footpieces, five repeating pen & ink designs, three with variants of clouds, each in a set of three, alternating with bee & bee box shutter and spider web-in-branches patterns, followed by a faerie tree watercolor. The poem ends with a superb watercolor tailpiece, a wide view of a crowd watching a grimed horizon of smokestacks at sunset, in the purple, grape, and taupe colors associated with industrial pollution, with verse; "But I who all my life have / spent in clean / Dew-sweetened air and healthy / country days, / can find no peace, no joy, and / few who mean / To love and serve mankind. For / in this maze / Of worldly strife such things / are rarely seen." UNFINISHED: Last three poems, bodies in pen & ink, title headings in pencil: 1) "Hill Top Storm", "O Time! you hurry on your way", the loose linocut, "Plane Tree and Downs" intended for insertion / 2) "Cradle Song", illustrated with the mounted linocut, "The First Snowdrop" / 3) "June 1940", decorated with heading, 'Summer' in green, and a watercolor footpiece with dragonflies, the loose linocut, "Summer" intended for insertion. SEPARATE LINOCUTS: on different handmade papers with full margins. 1) "Summer", a green & white floral design. 2) "Plane Tree and Downs", b/w, 195 x 225 mm on very thin Japanese paper; an autumn view, in the foreground, a solitary London plane tree with its striking, mottled bark and large leaves, shown with exposed upper roots, the tilled fields behind slowly rising to the stepped downs in the distance and a ridge with three knolls and hills beyond. 3) "Fungus", repeated, different Japanese paper. 4) "First Snowdrop", repeated, different paper. PREPARATORY STUDIES: 1) Outline, in pencil, on a sheet of sketchbook paper with preliminary placement for poems and linocuts, verso with pencil draft of a poem and examples of lettering and hash marks. 2) Calligraphy in pen & ink, and pencil on sheet of sketchbook paper with 12 lines of verse, inner margin with large decorated initial, and an interlaced tulip & stem decoration, descending 13 lines, verso with three tailpiece decorations that are used in the book. BACKGROUND: During World War II, commercial art studios in Great Britain that were without war production contracts were often forced to close because of severe materials shortages. "Unable to obtain fabrics, Dorothy Larcher and Phyllis Barron gave up their work as hand block-printers." [Harrod, p. 202] Over half of the county of Dorset is designated as, an Area of Outstanding Natural Beauty. Bournemouth, the largest city in Dorset was bombed many times by the Luftwaffe, including the horrific air raid of May 23, 1943. In all, 219 people were killed in Bournemouth by German bombs during air raids in World War II. LINOLEUM BLOCK PRINTS: The patent for linoleum was issued in 1860. Much easier to cut than wood, it is also a more fragile material and requires smaller print runs. It was first used extensively as a print media by the artists of Die Brücke. Among other famous artists who worked extensively in linoleum were Picasso and Matisse. ADDITIONAL IMAGES: by request.

      [Bookseller: Steven Waldman]
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        Flying a Kite at the Seahsore. Original ink drawing for "The Door Opens" by Ernst Lothar

      New York: Doubleday, Doran, 1945. Ink on paper. 15.75 x 12 inches. Pencil annotations in the margins. Signed "Garth Williams" in ink on the verso Inventory no. 3.02775(a). Reproduced full page on p. [23] of the book. Provenance: Estate of the artist. MISSED in Garth William, American Illustrator, A Life by E. & J. Wallace.

      [Bookseller: Alan Wofsy Fine Arts]
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        Record of the Technical Companies of the 40th County of London (G.L.C.C.) Battalion, Home Guard. 1942 – 194 [With:] Photographs of the Training and Operational Tasks carried out by the Technical Companies of the 40th County of London (G.L.C.C.) Battalion, Home Guard. 1942 – 1945.

      [London: 1945] - 2 volumes, folio and landscape folio. Original grey light card wrappers, ruled and lettered in black to front, volume 1 staple-bound, volume 2 with red cloth spine. Volume 1 spine a little chipped, volume 2 wrappers slightly marked, extremities bumped, rear wrapper a little nicked and creased along top edge, inked number to margin of first leaf, light marginal toning to a few other leaves, the images never affected. Very good condition overall, the contents clean, the prints crisp and fresh. 10 folding text-leaves printed on india paper; 17 mounted silver gelatin prints, of which 15 approx. 110 x 150 mm, and 2 of smaller dimensions. Text and prints rectos only. Fascinating mimeographed report on the Home Guard battalion formed by engineers from the Gas Light and Coke Company in 1942, with a volume of fine photographs. Rare, with no other copy traced in libraries or in commerce, except an ambiguous reference in the National Archives at Kew. After repair work from the Blitz eased off in the autumn of 1941, company engineers sought special permission from the War Office to form a "mobile Royal Engineer platoon based at Ilford, in which capacity they could be available to undertake specialist engineer tasks, subject to the prior claims of Civil Defence" (Introduction). Authority was granted in January 1942 and units were formed at Ilford, Westminster, Pound Lane, Seven Sisters, Goswell Road, and Heston. The report comprises a diary of events, summaries of field works, training, and inspections, letters of commendation and details of awards and social events. The photographs depict inspections by Arthur Smith and Charles Lloyd (GOC London District 1942-4 and 1944-7 respectively), bridge construction over the Roding, a Sten gun range at Chiswick, the demolition of various strong points to clear Heathrow airfield, and plans "for work carried out at Becher Street, Kensington, to demonstrate methods of placing groups of houses in a state of defence". "From the very beginning industrial concerns made a considerable contribution to the growth of a voluntary movement The reliance upon industry did bring difficulties even if urban units invariably had greater access to convenient premises Many of the original factory units were not incorporated into local battalions initially but allowed to remain separate with the result that large numbers of men were not fully utilised in local defence plans: their only concern was the defence of their own premises. Similarly, the public utility battalions clearly faced something of a conflict of interest in the event of an emergency and were generally organised on a regional basis unsuited to any active participation in local defence. It was not long before most factory units were integrated into local defence schemes" (Beckett, The Amateur Military Tradition 1558-1945, pp. 278-9). [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Ballet

      New York: J. J. Augustin Publisher, (1945) - Oblong 4to (214 x 278 mm), pp.144. 104 black-and-white photographs printed in gravure. Photographs and design by Brodovitch. Text by Edwin Denby; minor production crease to one leaf, minor handling crease to another. Plain endpapers; shallow crease to front flyleaf, front pastedown pulling at inside edge. Plain boards with cloth spine. Grey printed fitted French-fold dust-jacket, text to front in white; short splits to spine-folds, inside flaps turned at hinges, minor toning to edges, light rubbing to bottom outer corners. Publisher’s original board slipcase with printed blue and white label to front; lacking the grey paper covering save for a strip to the spine edge, boards toned and soiled, spine and portion of bottom edge missing, spine replaced by a former owner. An excellent copy of an extremely fragile book. First edition, limited to 500 copies. Ballet is a remarkable book, it contains photographs taken between 1935 and 1937 by Brodovitch of various international ballet companies whilst they were performing in New York. He photographed the dancers from behind the stage during performances and rehearsals, using a 35mm camera with slow film in available light. Later he enlarged small sections of selected frames and employed various darkroom techniques to bleach and fade certain areas and to further emphasise the contrast and grain of the images. [Attributes: First Edition; Hard Cover]

      [Bookseller: Oliver J. Wood]
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        Destin De Femme

      Paris 1945 - In-folio, 154pp en feuillets volants, souple à rabats éditeur, couverture papier cristal de protection, double emboîtage éditeur - L'Edition Originale a été limité à 295 Exemplaires, ici des 139 exemplaires sur Vélin Blanc (Ex n° 179), bien complet de ses vingt et une aquarelles de Louis Icart, dont un frontispice et 10 HT, dix bandeaux - feuillets qq peu gondolés, qq rousseur sporadique in-texte, emboîtage usagé : manque le battant du haut, second battant abîmé en bordure extérieur, qq autres accidents, cependant bon exemplaire

      [Bookseller: librairie ESKAL]
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        Thalassa dans le désert

      First edition, one of 25 numbered copies Arches paper, this copy not justified, the tirage de tête.Design by Mario Prassinos after an original composition by Max Ernst.A small tear glued to foot of spine, slight marginal stains to lower cover, internally good.A rare copy. Fontaine Paris 1945 11,5x14cm broché

      [Bookseller: Librairie Le Feu Follet]
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        La Víspera Indeleble. Primera edición del PRIMER libro de Mario Benefdetti. Firmado por el autor y dedicado a su madre

      Taller Gráfico Prometeo, Montevideo 1945 - Libro en buen estado. Rotura en el lomo. Algunas manchas de humedad en sus portadas. For major safety in your decision of purchase, we send (free of charge) a video demonstration of the conservation status of the book. Pour une plus grande sécurité dans votre décision d'achat, nous envoyons (sur demande et gratuitement) un vidéo de démonstration de l'état de conservation du livre. Para mayor seguridad en su decisión de compra, le enviamos (a solicitud y sin cargo) un video de demostración del estado de conservación del ejemplar. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Eduardo Martínez Moreira]
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        Statistics of Food Supply in the United Kingdon

      Ministry of Food. London 1945 - [February]. Statistics of Food Supplies, Stocks and Utilisation 1940 - 43. Loosely bound into heavy grey boards tied with cord. SECRET printed to front board, this being copy No.90. Contents: Introduction; Index; 86pp. of tables. A very significant document, this dense collection of statistical analyses represented intelligence of the highest importance. Despite great efficiencies and unparalleled investment in an agricultural sector which had reached near-bankruptcy in the 1930s, the UK never achieved total self-sufficiency in food production during WW2. The data summarised in this document was essential to the planning and allocation of the strategic resources required to sustain a war economy. The three years covered here were especially challenging; prior to 1943 the U-Boats of the Kriegsmarine had been inflicting extensive losses on shipping supplying the imported goods required by the UK economy. This document is a product of the extensive administrative and planning apparatus required to record and allocate foodstuffs. From the introduction: "These tables are circulated for internal use within the Ministry of Food with the primary object of establishing standard data for working purposes. They have been compiled from information supplied by the statisticians attached to the Commodity divisions, the information itself being derived from the returns and records maintained by the Divisions under the schemes of control which they administer. The statistics are for the most part secret (especially those relating to stocks) and should be kept under lock and key." There follows 86 pages of folding tables detailing every aspect of the supply, stocks, importation, and utilisation of all manner of foodstuffs available to the UK economy between 1940 and 1943. Includes data on losses through Air Raids and "Disappearance". Covers soiled and marked. Contents fine. [Attributes: First Edition; Hard Cover]

      [Bookseller: David Cornell]
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        Une étude sur l'Apocalypse. Manuscrit autographe et tapuscrit complets

      Autograph manuscript of the author of four and a half pages in-4 published in the issue dated November 3, 1943 the Journal of Debates. Complete manuscript writing very dense, with many erasures, corrections and additions. Literary review published on the occasion of the publication of the study of Father HM Feret on the Apocalypse of St. John and the Christian view of history. 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. (1945) 13,5x21cm & 4 pages in-4 4 1/2 pages in-8

      [Bookseller: Librairie Le Feu Follet]
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        VERDURES DE LA NUIT

      - Lausanne: Mermod, 1945. Broché sous couverture repliée: 23 x 29 cm, 46p. Edition originale, avec en ENVOI AUTOGRAPHE. Avec 14 lithographies originales de René Creux en marge du texte de Chappaz. Grandes marges, non ébarbé. Un des 230 exemplaires numérotés sur Guarro Molivell (no. 141). Magnifique exemplaire, précieux. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie de l'Univers]
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        General Account of the Development of Methods of Using Atomic Energy

      [Washington D.C.]: [printed at the Pentagon], 1945.Advance Copy of Smythe's Report on the Development of the Atomic BombSMYTH, Henry de Wolf. A General Account of the Development of Methods of Using Atomic Energy for Military Purposes Under the Auspices of the United States Government 1940 -1945 ... Written at the request of Major General L.R. Groves United States Army. [Washington D.C.: printed at the Pentagon, 1945].First edition, advance publication copy for press use. One of 1,000 copies. Cyclostyled pages, stapled (10 3/8 x 7 7/8 inches; 264 x 200 mm.). [8], 19, [1, blank], 10, 7, [1, blank], 15, [1, blank], 9, [1, blank], 14, 15, [1, blank],17, [1, blank], 13, [1, blank], 10, 13, [1, blank], 12, 3, [1, blank], 6, 2, 3, [1, blank], 5, [1, blank], 1, [1, blank] pp. With intertextual diagrams and "Released for Publication on ____" lithographed on lower inner corner of front wrapper. With duplicate extra leaf "x-5." Complete.Original textured cream wrappers stapled in three places along inner edge. Wrappers slightly soiled. Spine with a small dampstain. Internally very clean. About fine.This is the first edition of the first description of the technical development of the atomic bomb, published on 12 August 1945, just six days after Hiroshima. Until the publication of A General Account research and development had been undertaken in conditions of the utmost secrecy and the report was also prepared in secret. However, the British and American governments decided that the widest dissemination of this "remarkably full and candid account" (PMM) was in the public interest, and this first edition was distributed to journalists for radio use on 11 August and for press use the next day. This first edition with a Foreword by L.R. Groves is described as a "lithoprint" and was printed in the Adjutant General's office in the Pentagon from a typescript."All pertinent scientific information which can be released to the public at this time without violating the needs of national security is contained in this volume. No requests for additional information should be made to private persons or organizations associated directly or indirectly with the project. Persons disclosing or securing additional information by any means whatsoever without authorization are subject to severe penalties under the Espionage Act" (Groves, from the Foreword).Although it does not state anywhere, this copy belonged to American physicist and director of the Los Alamos National Laboratory, Norris Bradbury. In July 1944, Bradbury a naval commander, transferred to Los Alamos to work on the Manhattan Project. In 1945, Oppenheimer resigned as director of Los Alamos and recommended Bradbury for his replacement.Norman Library 1962. Printing and the Mind of Man, 422e.HBS 67805.$5,000

      [Bookseller: Heritage Book Shop, LLC ]
 27.   Check availability:     ABAA     Link/Print  


        FDR's Funeral

      Washington, D.C.: Wayne F. Miller 1945 - Set of seventeen 1945 flush trimmed and mounted gelatin silver prints, 8 X 8 inches, each numbered sequentially by the artist in pencil, and housed in the original plain manila envelope, SIGNED by Miller with several annotations, including the comment "book prints", which clearly references the artist's intentions, even if no book was ever realized. Plate 1 SIGNED by Miller; various artists stamps and numerical pencil notations throughout. One of two sets made of the seventeen images, the other presented to Eleanor Roosevelt by the artist and currently in the FDR presidential library. This series was created by Miller as he accompanied the President's caisson, in full dress Navy uniform, photographing the bereaved citizens who lined the route from Union Station to Lafayette Park in April of 1945. Prints near fine, envelope worn. [Attributes: Signed Copy]

      [Bookseller: Harper's Books, ABAA]
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        Dodoitzu

      First bilingual edition, one of 75 numbered copies on vélin blanc Lafuma paper, the tirage de tête.With 30 color illustrations by Rihakou Harada. Two snags and tears to spine, one small stain to head of upper cover, but otherwise a good copy. Gallimard Paris 1945 21,5x28cm broché

      [Bookseller: Librairie Le Feu Follet]
 29.   Check availability:     Direct From Seller     Link/Print  


        FDR's Funeral

      Washington, D.C.: Wayne F. Miller, 1945. Prints near fine, envelope worn.. Set of seventeen 1945 flush trimmed and mounted gelatin silver prints, 8 X 8 inches, each numbered sequentially by the artist in pencil, and housed in the original plain manila envelope, SIGNED by Miller with several annotations, including the comment "book prints", which clearly references the artist's intentions, even if no book was ever realized. Plate 1 SIGNED by Miller; various artists stamps and numerical pencil notations throughout. One of two sets made of the seventeen images, the other presented to Eleanor Roosevelt by the artist and currently in the FDR presidential library. This series was created by Miller as he accompanied the President's caisson, in full dress Navy uniform, photographing the bereaved citizens who lined the route from Union Station to Lafayette Park in April of 1945.

      [Bookseller: Harper's Books, Inc.]
 30.   Check availability:     Biblio     Link/Print  


        Destin de femme.

      Editions Egix 1945 - In-4 ( 330 X 255 mm ) de 154 pages, plein maroquin caramel, dos à nerfs orné de filets dorés droits et perlés, double filet doré d'encadrement sur les plats, tête dorée, couverture et dos conservés, étui ( Reliure signée de J. LAMBERTI ). Edition originale et premier tirage des 21 eaux-fortes en couleurs de Louis ICART ( dont un frontispice et 10 hors-texte ). Texte dans un encadrement de double filet rouge, lettrines et ornements typographiques en rouge. Tirage limité à 325 exemplaires, celui-ci 1 des 125 numérotés sur vélin B.F.K. ( N°68 ) troisième papier numéroté 32 à 156. Très bel exemplaire, fort bien relié. Littérature Edition-originale Curiosa Erotisme Gravure [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Tiré à Part]
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        Braque

      

      [Bookseller: Maggs Bros. Ltd.]
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        Forbidden Art in the Third Reich. Paintings by German Artists whose Work was banned from Museums and Forbidden to Exhibit. Exhibition catalogue Galerie Nierendorf [wahrscheinlich Oktober 1945], anschließend November 12 through December 9, 1945 at The Institute of Modern Art, Boston [Same cat.]

      1945 - 22,8 x 14,3 cm, (8) Seiten einschließlich Umschlag, 9 schwarz-weiss Abbildungen, Original-Klammerheftung, ein gutes Exemplar. Es gab zwei Ausgaben, die sich nur durch den zusätzlichen roten Aufdruck auf dem Vorderdeckel zur Bostoner Ausstellung unterschieden. Mit den Arbeiten u. a. von Franz Marc: The red Cow; Schmidt-Rottluff: Head und House with Trees; Max Beckmann: Flower Still Life; Ewald Mataré: The Cow, Bronze; Josef Scharl: The Uniform; Otto Dix: Etching The War; Paul Klee: Tragedy. Barron, Stepahnie, exiles + emigrés, The Flight of European Artists from Hitler, Los Angeles County Museum of Art, 1997, siehe Seite 283, Abbildung 275. - Walter-Ris, Kunstleidenschaft im Dienst der Moderne, Die Geschichte der Galerie Nierendorf Berlin/New York 1920-1995, darin: vollständiges Faksimile dieses Kataloges siehe Seite 273ff., zwei schwarz-weiss Abbildungen aus der Galerie, die die Hängung zeigen. Zitat: "Als Anfang Mai 1945 der Zweite Weltkrieg beendet war, hatte es Nierendorf trotz aller Widrigkeiten geschafft: die Galerie in New York war fest etabliert, er hatte Klee, Kandinsky, Feininger, Hofer, Scharl, Lehmbruck u. a. in Amerika zur Anerkennung verholfen, ihre Werke wurden von amerikanischen Museen ausgestellt und von neuen Sammlern erworben. Seine erste, vermutlich im Oktober 1945 gezeigte Ausstellung nach Kriegsende, "Forbidden Art in the Third Reich", diente wieder der Bewußtmachung. Doch diesmal ging es darum, was das gerade ausgelöschte Dritte Reich der Kunst im Namen der "Reinhaltung" der deutschen Kultur angetan hatte und was es Kunstliebhabern in aller Welt trotzdem nicht hatte rauben können: die Verbundenheit mit der deutschen modernen Kunst." Zitat Ende. [Attributes: Hard Cover]

      [Bookseller: Stader Kunst-Buch-Kabinett]
 33.   Check availability:     ZVAB     Link/Print  


        Racy War-date ALS "Love Jack" - with original envelope signed "JFK" - to a young nurse he had met at the Naval Hospital in Chelsea, Mass., in 1944 while recuperating from back surgery following the PT 109 incident

      Castle Hot Springs AZ, [February 17 1945]. 3.5" x 2.5". "Rare early Autograph Letter Signed ""Love Jack,"" 3p, 3.5"" x 2.5"" note card, front and verso; one 3.5"" x 5"" card folded in half, with small hand-painted cactus in the lower right corner of the otherwise blank fourth page. With original 5"" x 4"" envelope, torn open at top edge, return address written by Kennedy in upper left, ""JFK. / Castle Hot Springs Hotel / Castle Hot Springs / Arizona."" Addressed by JFK to ""Ensign Elenor Dooley / Nurses Home / U.S. Naval Hospital / Chelsea / Mass."" 8¢ Airmail stamp affixed, postmarked in Castle Hot Springs, February 17, 1945. Noted by Kennedy in lower left ""Airmail.""In full, ""Dear Eleanor: I've been waiting to hear from you for some time, and your valentine (for which I thank you) let me know that you were still with us and not in defending your country's honor and your own - in the Philippines or some place like it. I still have great hopes that you will be coming out this way. If you do - please - I say again, please - let me know where you are going - for if it is near - I will come on the double. Try and take any leave you get on this end - as it is wonderful country and you would love it. Wonderful air - riding etc. and I think I'm getting in better shape - though it goes surprisingly slow. I am really living like the doctor ordered - and finding it a bit of a strain. Relax and write. I use this card as I thought the cactus expresses well my social life here. Love, Jack""On June 12, 1944, at the Chelsea Naval Hospital, Lieutenant John F. Kennedy, USNR, was awarded the Navy and Marine Corps medal ""for extremely heroic conduct as Commanding Officer of Motor Torpedo Boat 109 following the collision and sinking of that vessel in the Pacific War Area on August 1-2, 1943. Unmindful of personal danger, Lieutenant (then Lieutenant, junior grade) Kennedy unhesitatingly braved the difficulties and hazards of darkness to direct rescue operations, swimming many hours to secure aid and food after he had succeeded in getting his crew ashore. His outstanding courage, endurance and leadership contributed to the saving of several lives and were in keeping with the highest traditions of the United States Naval Service."" The Medal was presented to John F. Kennedy by Capt. Frederick L. Conklin, Commandant of the Chelsea Naval Hospital. It was while he was at the Chelsea Naval Hospital for surgery in the summer of 1944, that the 27-year-old Navy Lieutenant met 24-year-old Navy nurse, Elinor Dooley.Michael O'Brien wrote, in John F. Kennedy: A Biography"" (New York: St. Martin's Press, 2005), ""In their last report on Jack's health, in late November 1944, the doctors at the Chelsea Naval Hospital stated that Jack's recovery depended on a 'long period of rest in a secluded outdoor environment.' Jack and his father agreed; Jack should spend an indefinite period, perhaps as long as a year, resting in Arizona."" In Arizona, Jack stayed at the Castle Hot Springs Hotel in Castle Hot Springs, a health spa leased by the U.S. military, from January to March 1945.In 1947, Navy nurse Elinor Dooley (1920-2009) married Navy doctor Clyde J. Dawe (1920-1996)."

      [Bookseller: University Archives]
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        Tihuanacu: La Cuna del Hombre Americano / The Cradle of American Man [Complete Volumes I-IV Bound in Two Volumes]

      Ministerio de Educacion 1945,1957, La Paz - 9.5 x 12 Hardback in Very Good condition. Volume I-II has spine; Extensive studies of an early and historic site in Bolivia on the shores of Lake Titicaca. Volume I discusses the archaeological site and inhabitants. Volume II is on Tiwanaku's temples and religion. Volume III focuses on ceramics and interpretation of symbols. Volume IV is focused primarily on the study of mummies and skulls from the area. Profusely illustrated with color and black and white plates. English and Spanish text. ; 9; 246+275 pp. Very Good and hinge repairs. Volume III-IV has rubbing to cover. Minor splitting to backstrip cloth. Both are solid. [Attributes: Hard Cover]

      [Bookseller: RugBooks, IOBA]
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        David Jacks of Monterey, and Lee L. Jacks, his daughter with a foreword by Donald Bertrand Tresidder

      Stanford, CA: Stanford University Press, October, 1945. vi, 44p., 10.75x14.25 inches, decorated title page of green Monterey Cypress (with light-offset reflection from ink transfer, looks rather like the shadow of the tree!) foreword, marginal annotation, three tipped-in photo portraits of the subjects, very good first edition limited to 105 copies bound in tan cloth boards decorated with Cypress design and quarter brick-cloth backing and paper title label on spine. Eleven copies located in OCLC as of 2/2017. Account of early California pioneer and his daughter.

      [Bookseller: Bolerium Books, ABAA]
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        First Iwo Jima flag raiser John H. Bradley's very own dramatic, huge color Official Poster, signed by him and Fellow raiser Gagnon

      n.p.: , n.d, 1945. n.p., n.d.. 18.5" x 26". "Original, twice signed, Vintage Official U.S. Treasury Poster with the official U.S. Government Printing Office stamp, dated 1945, followed with the code of 0-637980, and with the statement 'Official U.S. Treasury Poster / U.S. Marines at Iwo Jima, painted by C.C. Beall from Associated Press Photo"" along the bottom edge. 18.5"" x 26"". Personally owned by John Bradley, and handed down to his son, James Bradley. Signed by both John Bradley and Renee Gagnon. The poster has strong vibrant colors with a 1/4"" reinforcement to the verso top edge. A few locations of thinning paper, and a few very tiny pin holes, all of which are not visible unless the poster is held up to light. Expected folds, else near fine.A signed magnificent original poster; personally owned by John Bradley and handed down to his son James Bradley, who has certified the piece was from his personal collection.One of the most iconic images of U.S. Marines Iwo Jima , this picture was first caught as a photograph by Joe Rosenthanl of the Associated press and eventually won the Pulitzer prize. This image was later memorialized in Arlington Virginia as a national moment. Signed by both John Bradley as ""John H. Bradley Ph. M2C Navy"" and Renee A. Gagnon as ""Pfc Rene A. Gagnon U.S.M.C."" The flag raising at Iwo Jima occurred twice in the battle. The first was at 8 AM on February 23, when Bradley and Navy corpsman, PhM2c. Gerald Ziehme (replaced PhM3c. Langley who was wounded in action on February 21), were part of the 40-man combat patrol (mostly from Third Platoon, Easy Company) were sent to climb up the east slope of Mount Suribachi to seize and occupy the crest and to raise an American flag to signal that the mountaintop was captured. On top, the Marines found a steel pipe to attach the flag unto. The flagstaff was taken to the highest position on the crater. Seeing the raising of the national colors immediately caused loud cheering from the Marines, sailors, and Coast Guardsmen on the beach below and from the men on the ships near the beach. After the flag was raised, Bradley, who was with the group of Marines near the flagstaff, pitched in to help the flagstaff stay vertical in the terrific winds on the volcano.The Second Flag raising, the one memorialized by the Pulitzer prize winning photo, was initiated using a larger flag in order for the American flag to be seen more easily from the ships, beaches, and land off and around Mount Suribachi. Marine Sgt. Michael Strank was ordered to ascend Mount Suribachi with Marines from his squad and raise the replacement flag and return with the first flag that was flying on top.A moment of enormous historical importance, beautifully memorialized in this stunning twice signed poster by two heros from Iwo Jima. John Bradley was one of the first flag raisers at Iwo Jima, and a awardee of both the Navy Cross and the Purple Heart for his contributions during the battle, and Rene Gagnon is best known for being one of the six flag-raisers who helped raise the second U.S. flag at Iwo Jima. A spectacular example made that much more significant with its important provenance. Documentation from Bradley's son who authored ""Flags of our Fathers""."

      [Bookseller: University Archives ]
 37.   Check availability:     ABAA     Link/Print  

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