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Displayed below are some selected recent viaLibri matches for books published in 1946

        Les manifestes du surréalisme suivis de Prolégomènes à un troisième Manifeste du surréalisme ou non

      Editions du Sagittaire 1946 - - Editions du Sagittaire, Paris 1946, 12x19cm, broché. - Edition en partie originale, un des exemplaires du service de presse. Envoi autographe signé de l'auteur à Roger Lannes. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Edit partly original, one copy of the press service. Signed autograph of the author Roger Lannes. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
 1.   Check availability:     AbeBooks     Link/Print  


        Secret Session Speeches, the publisher's full black morocco presentation binding, signed and dated by Churchill in the year of publication and by his youngest daughter, Mary, in 1947

      London: Cassell and Company Ltd., 1946. First edition, publisher's presentation binding, inscribed. This is a triply rare, potentially unique signed volume of Churchill's war speeches. First, it is the publisher's presentation binding. A very small number of British first editions of Churchill's war speeches were bound in full black pebble-grain morocco with gilt top edge, head and foot bands, and decorative endpapers. Such bindings of any of the seven volumes are quite rare, but Secret Session Speeches is both the rarest and unique in appearance, with a vertical spine title. Second, this copy is a prize not only for its rarity, but also for its condition. The publisher's black morocco binding remains in superlative condition, with only trivial superficial scuffing. The contents remain crisp and bright with no spotting. Searching for signs of age and flaws, we can report only transfer browning to the perimeter of the endpapers. Third and most significantly, this particular copy is signed and dated both by the author and his youngest daughter, Mary. Churchill's signature, inked in black in three lines on the second blank endsheet, reads: "From | Winston S. Churchill | 1946". On the same page, Mary's signature in blue ink in two lines reads: "Mary Soames | 1947". Baroness Mary Soames, nee Mary Spencer-Churchill (1922-2014) was the youngest and longest-lived of Winston and Clementine's five children. She was raised at Chartwell. During the Second World War, Mary joined the Auxiliary Territorial Service, serving in anti-aircraft batteries. Later in the war, Mary accompanied her father on several of his journeys abroad, including to Potstam for the summit with Truman and Stalin. She demobilized in 1946 and in February 1947 Winston walked Mary up the aisle when she married Arthur Christopher John Soames, the same year that this copy of her father's final volume of War speeches was signed by her as "Mary Soames". She would have five children with Christopher and support his own political career. Later in life, Mary would produce several well-regarded books about her parents and her own life. She was made a dame in 1980 and in 2005 was appointed a Lady Companion of the Order of the Garter. Secret Session Speeches is the seventh and final volume of Churchill's war speeches. This slim volume contains five speeches Churchill made to the House of Commons sitting in Secret Session - those of 20 June and 17 September 1940, 25 June 1941, and 23 April and 10 December 1942. Publication was made possible when the ban on revealing what had taken place in the wartime Secret Sessions was lifted in December 1945. Secret Session Speeches is anomalous among Churchill's other war speeches volumes in many respects. Unlike the contents of the other war speeches volumes, the words within this volume were not made or meant for public consumption. In fact, there was no public record of the speeches at all. As explained by the volume's compiler, Charles Eade, in his Introduction, "In accordance with Parliamentary custom, these speeches were not recorded even for official and historical purposes. Fortunately, the speeches were of such character that Mr. Churchill before delivering four of them prepared full texts of what he proposed to say." Only the first speech, that of 20 June 1940 after the fall of France, lacked a full text dictated by Churchill. For this first of Churchill's Secret Session speeches, the volume reproduces a photocopy of his original notes and emendations. In addition to Eade's Introduction, the book adds explanatory and context-setting comment preceding each speech, and the British edition adds eight leaves of plates at page 48 bearing sixteen full page wartime photographs and captions. This is a simply magnificent, truly rare, potentially unique copy. Bibliographic reference: Cohen A227.2.a, Woods/ICS A114(b), Langworth p.250.

      [Bookseller: Churchill Book Collector]
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        The Little White Horse

      London: University of London PRess, 1946. First. hardcover. fine/near fine. Hodges. Illustrated by Walter Hodges. Map end-papers. 8vo, light blue cloth, d.w. London: University of London Press, (1946). First Edition. Uncommon. Said to be one of J.K. Rowling's favorite books, it was filmed in 2008 as "The Secret of Moonacre". Fine,in a near-fine dust wrapper with the original 6/ price.

      [Bookseller: Argosy Book Store]
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        The Outsider

      UK: Hamish Hamilton. London, Hamish Hamilton, 1946. Hardback first edition and first impression. Recently rebound in full leather, near fine. . Near Fine. Hardback. 1st Edition. 1946.

      [Bookseller: Hyraxia]
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        ALTERNANCE

      Paris: Le Gerbier, 1946 One of 262 copies in Rives BFK numbered, from a total edition of 340 copies. The portfolio, loose as issued, is complete of the original chemise, slipcase, and clamshell box. This edition present a collection of 16 etchings from different artists, of which one from Matisse signed and dated in plate, by Laurencin, Cocteau, Lhote, Villon, Dignimont and other, alternating with inedited texts by eminent writers of that time: Eulard, Giraudoux, Cassou, Ribemont-Dessaignes, Jacob and others. The portfolio is in very condition. Pictures on request

      [Bookseller: Marninart, Inc (ABAA-ILAB)]
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        Lettres Portugaises. Deluxe Edition with Artistic Binding and one extra suite of lithographs

      MATISSE, Henri, Marianna Alcaforado. Paris: Teriade, 1946. Signed by Matisse. With 15 full-page and 80 smaller lithographs by Matisse. Bounded in a beautiful artistic binding of J.Anthoine Legrain 1949, complete of the matching chemise an box. A copy of Matisse's first collaboration with Teriade. At this time Matisse was also working on Jazz. Unlike the latter work, which was comprised of collages, Lettres Portugaises showcases Matisse's brilliance as a draughtsman. It is distinguished by the use of purple and brown inks, and by "the suavity of Matisse's line" (The Artist and the Book). This is one of only 80 copies accompanied by an extra set of proof studies of lithographs. Total edition 270 copies. Mariana Alcoforado (1640-1723) lived in Our Lady of the Conception Convent in Beja. Matisse leads us along the course of the passionate love affair of the nun from Beja, depicting the imaginary portraits of Mariana with delicate and at the same time tormented contours. Ref: Duthuit 15. The Artist and the Book 199.

      [Bookseller: Marninart, Inc (ABAA-ILAB)]
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        Abeceda Dusevniho Prazdna [Alphabet of Spiritual Emptiness]

      Nak/adatelstvi Za'Druha a.s., Prague [Praha] 1946 - FIRST EDTION of Tmej's powerfully disturbing photo-exploration of the devastation of the Second World War; complete with 45 gravure plates. "Tmej's book is a remarkable document of his war experiences (psychological and otherwise). It is also a beautifully produced, if fragile book, a strange combination of luxury and cheapness: lusciously inked gravure printing on rough paper that is little better than newsprint. "When Tmej was forced, like many young Czechs, to work for the Nazi war effort in Breslau, he had the foresight to carry two cameras in his backpack on his way to a doubtful future in Germany, and the courage and perspicacity to use them. The resulting book, distilled from around 200 negatives, is notable not simply for its historical value, but also for Tmej's ability to make formally elegant images that are invested with a poetic weight that is quite remarkable given the circumstances of their making" (Parr/Badger, The Photobook, Vol. 1). Roth 101. Praha [Prague]: Nak/adatelstvi Za'Druha a.s., 1946. Quarto, original flexible boards, original dust jacket. Book fine, scarce, fragile dust jacket with restoration (as often) around edges and flap folds. RARE. [Attributes: First Edition; Soft Cover]

      [Bookseller: Manhattan Rare Book Company, ABAA, ILAB]
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        Brudarnas källa. En legend om de bofasta.

      Stockholm; Bonniers, 1946. Femte tusendet. 19,5x13 cm. 233, (2, 1 blank) s. Häftad med tryckt omslag. Det överdimensionerade omslaget är något veckat i nedre marginalerna. Kort reva i nedre framfals. Rygghuvudet och främre omslagets främre kant lätt nötta. Deltitelbladet och främre omslagets verso något gulnade av ilagt tidningsurklipp. Dedikation: ''Till Kristina, min älskade! / Författaren / '... hennes själ och kropp, allt svarade för att hon sade sant till mig' (sid. 113.)''. Mottagaren Kristina Odelberg/Hedenblad (1917-2005) hade under 40-talet och möjligen även senare en kärleksaffär med Moberg, som döpte Kristina i Utvandrarserien efter henne. Kärleksaffären upptäcktes via en svit om 30 böcker som Moberg dedicerat till henne. I exemplaret av Utvandrarna (1949) skriver han: "Till Kristina, min älskade, som lånat sitt namn åt den kvinnliga huvudpersonen i denna bok, med tacksamhet och kärlek från Författaren", ett intyg som upprepas så sent som 1969 i pocketupplagan av Utvandrarserien: " Den 29/3 1969. / Till Kristina -- hon som givit sitt namn åt den kvinnliga huvudpersonen i utvandrarromanen och till Minnet / med innerlig tillgivenhet från Författaren", vilket visar att hon var fullt närvarande i hans tankevärld under hela denna tid och därmed mycket väl kan ha påverkat hans senare litterära produktion. Vad som ytterligare talar för detta är exemplaret av Vår ofödde son, en pjäs från 1945 som behandlar abort-problematik. Detta är den enda av böckerna som Kristina låtit binda in i ett påkostat rött skinnband, med en pärmficka längst bak där hon samlat tidningsartiklar om boken och dess författare. I Kristinas exemplar av den danska utgåvan av samma bok, utgiven 1947, finns en dedikation från översättaren: "Kaera Kristina! / Denne Bog, den til Dels handler om dig, sendes dig til Erindring -- ikke om Forfattaren, men om Oversatteren. / Din Carl Erik''

      [Bookseller: Patrik Andersson Antikvariat]
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        SKULL-FACE AND OTHERS - WITH AN ORIGINAL PENCIL SKETCH BY HANNES BOK TIPPED IN

      Sauk City: Arkham House, 1946. First Edition. First Printing, one of 3004 copies printed. Octavo; black cloth, with titling and decorations stamped in gilt on spine; dustjacket; 474pp, [2]. Tasteful bookplage to front pastedown, based of spine gently nudged, with a shallow bump to upper edge of rear board; hint of foxing to top edge; Near Fine. Original Hannes Bok dustjacket is unclipped (priced $5.00), with a single 1/4" closed tear at upper left joint corner and a small, faint dampstain to rear flap; bright, unfaded, Near Fine example. Though not called for, tipped into this copy is an original, unsigned pencil sketch of Hannes Bok's 'Fox Woman,' likely an early preliminary version Bok toyed with. Lead pencil on light brown tracing paper, tipped in between the first blank and the half-title page. Howard's posthumous first book published in the U.S., a collection of fantasy stories featuring Conan, King Kull, Bran Mak Morn, and Solomon Kane; many of these first appeared within the pages of 'Weird Tales' in the 1930's. Foreward by August Derleth, with memoriams by H.P. Lovecraft and E. Hoffmann Price. A bright, crisp copy of Howard's first book and a key Arkham House title, with the added benefit of the Hannes Bok sketch. Ex Jerry Weist.

      [Bookseller: Captain Ahab's Rare Books]
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        Animal Farm

      New York: Harcourt, Brace and Company, 1946., 1946. Proof Copy of the American First Edition. 8vo. Publisher's soft grey covers titled in black to upper. Faded blue ink stamp to upper cover with stain; covers frayed along extremities, spine wrinkled; page edges toned by text clean. Scarce. Held in a protective solander box.

      [Bookseller: Adrian Harrington Rare Books]
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        DESCRIPTION D'UN COMBAT

      [Paris]: Maeght Éediteur, [1946].. Quarto (12 x 9 5/8"; 305 x 245 mm). Gathered loose signatures, laid into lithographed pictorial wrapper. Lithographed frontis, plates, head- and tailpieces. Fine, in lightly rubbed and smudged publisher's board chemise and slipcase. First edition in French, translated by Clara Malraux and Rainer Dorland, with a Préface by Bernard Groethuysen. One of 300 numbered copies printed on Vélin, from a total edition of 350. Illustrated with eight black and white full-page lithographs, plus the wrapper and head and tailpieces, by Jean-Michel Atlan, all printed by Mourlot. MONOD 6480.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Vingt-cinq-et-un poèmes

      Partly original edition on the current paper. Precious autograph signed by the author Raymond Queneau. Book illustrated with 12 drawings in full page of Hans Arp. Editions de la revue Fontaine Paris 1946 14x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        L'Armee Secrete

      1946. MASSON, Andre. L'Armée Secrète. By Philippe Soupault. Illustrated with an original lithograph and reproductions of six drawings by Masson. 4to., bound in original wrappers, preserved in a cloth folding box. Paris: Bordas, 1946. |~||~||~||~||~| This is one of several works by Soupault illustrated by Masson. One of an edition of 300 copies with the colophon signed by Soupault and the original lithograph signed by Masson, of a total edition of 340. This was the biggest edition ever signed by Masson, who is better known for not signing his books, presumably as a gesture to Soupault. Cramer, Masson Illustrated Books 20.

      [Bookseller: Ursus Rare Books]
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        Britain's Other Army: The story of the A.T.S.

      Nicholson and Watson, 1946, Hardcover, Book Condition: Good, Dust Jacket Condition: Poor, 1st Edition190 pages (complete). Printed according the post-war economy standards. The Auxiliary Territorial Service has long been regarded as the unjustly, unsung 'regiment for women' during the Second World War. This despite Princess Elizabeth (the future Queen Elizabeth II) and Mary Churchill (later Mary Soames) being members. The ATS was merged into the WRAC in 1949, but it's contribution to the war effort was central - as is described in this essential history. The cover is much worn and torn. It has shelving and handling marks about it. The board cover is dignified and resolute. It has wear and discolouration to the edges; there are shelf depressions at the corners and shelf pulls and wear to the head and foot of the spine. Otherwise it is strong and sure. The contents are clear, firmly affixed, clean, neat and smart. fk Quantity Available: 1. Category: Military; Regiments; Inventory No: odfh.

      [Bookseller: Chapter 1 Books]
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        Pascual Duarte's Family (The Family of Pascual Duarte).

      Eyre & Spottiswoode, London 1946 - First edition in English of the Nobel Prize-winning author's masterpiece. Octavo, original cloth. Signed by Camilo Jose Cela on the title page. Light rubbing, near fine in a near fine dust jacket with some light wear. Rare signed. The Family of Pascual Duarte is the story of Pascual Duarte -- a Spanish peasant born into a brutal world of poverty, hatred, and depravity -- as told from his prison cell, where he awaits execution for the murders he's committed throughout his lifetime. Despite his savage and cruel impulses, Pascual retains a childlike sense of the world and a groping desire to understand the blows of fate that led him down his bloody path. Originally published in the same year as Camus's The Stranger -- to which it has been compared. "After Don Quixote, probably the most widely read novel in Spanish" (The New York Times). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        Shadow In The Limelight

      Robert Hale Ltd., 1946, Hardcover, Book Condition: Good, Dust Jacket Condition: No Jacket, 1st Editionthe boards are worn and bit marked. shelf rubbed. sunned. previous owner's inscription. internally clean and tightly bound. [P.O.] Quantity Available: 1. Inventory No: oamw.

      [Bookseller: Chapter 1 Books]
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        Autograph Letter Signed ("John") to Burgess Meredith, on Steinbeck's frustrating attempts to reach him by phone

      175 East 78th St., [New York], 1946. One page in ink on recto of a single sheet yellow ruled note paper. 1 vols. 14 x 8-1/2 inches. Very good. From the Estate of Burgess Meredith. "The hell with the coin box business ... " Colorful note from Steinbeck to his friend Burgess Meredith: Dear Buzz: I've tried to call you several times but your line is either busy or you are out. This devotion has been carried on a coin booth which is little better than the back seat of a packard. We have no phone yet but hope to have one tomorrow or the next day. Mother Marie is building a nest for her new offspring and I am hard at work which immobilizes both of us pretty much. I am going to have lunch with Charlie Lytle (remember the Pixie of Park Lane) tomorrow May 8 at 21. Maybe you could drop in or maybe you'll be there anyway. I have to ask you something ... Meanwhile I'll call you if we get a phone. The hell with the coin box business. John UNPUBLISHED.

      [Bookseller: James Cummins Bookseller]
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        Peintures et dessins avec un avant-propos et des legendes extraites de l'oeuvre poetique de l'auteur.

      Paris, Les editions du Point du Jour, 1946,. in-4to, 4 ff. (1 ff. bl. - faux-titre - titre - 1 ff. du premier chapitre) + XI (+ I) + 43 dessins reproduits en lithogr. sous 43 papiers serpentes legendes en rouge + 4 ff. n. ch., sur le verso du dernier feuille, il y a un vignette (fin du livre), un des 900 ex. num. n° 766. brochure originale noire rempliee avec titre et auteur en rouge.. Selon le precedent proprietaire l'exemplaire provient de la bibliotheque de Madame Marianne Beguelin, auteur de 'Henri Michaux esclave et demiurge. Essai sur la loi de domination-subordination' publie chez L'Age d'Homme en 1974. Mme Beguelin etait en contact avec Michaux et l'ouvrage a peut-etre servi d'une reconnaisance de la part de Michaux.L'exemplaire en tres bon etat, donc la provenance peut soupsonner que le dessin tout a la fin est un originale d'Henri Michaux, malheuresement c'est pas un original mais la vignette de fin d'ouvrage. (Merci a un de mes clients lecteur de mes catalogues attentif).Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        The Inhabitants. Text and Photographs by

      New York: Charles Scribner's Sons, 1946. First edition. 52 full-page b/w photographs. Unpaginated. 1 vols. 4to (11 1/4 x 9 1/4 inches). Beige blind-stamped cloth. Fine, in very good slightly chipped, unclipped dust jacket with closed tear to front panel. Part one of Morris' groundbreaking photo-fiction trilogy depicts his native Nebraska as a depopulated world of delapidated ruin and desolation Thomas Mann wrote to Morris: "What these courageous pictures show is the harsh beauty of ugliness, the romanticism of the commonplace, the poetry of the unpoetical" (Roth, 122).

      [Bookseller: James Cummins Bookseller]
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        Aruba Netherlands West Indies. Long. 70 00" W ..... Lat. 12 - 30" N

      1946.. Color poster, pictographic / pictorial map, image 35 x 16 3/4 on sheet 18 1/4 x 36 3/4 inches. Professionally mounted on linen and restored, minimising tears (mostly in margins but a couple into the image); filled areas in the margins, not affecting the image area. A clean, bright image. A beautifully composed image with bird's eye view of the island, where small comic images enliven the imparting of information. The vignette illustrations in three corners of the map are more painterly in style, with cacti and a sea nymph (?). At the upper right corner is Senor Trade Wind. The silhouette border depicts sailing vessels and a profile of the island's activity. A most unusual map of this Caribbean island. .

      [Bookseller: oldimprints.com]
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        The Gormenghast Trilogy [comprising Titus Groan, Gormenghast and Titus Alone]

      Eyre & Spottiswoode, UK 1946 - London, Eyre & Spottiswoode, 1946-1959. Three hardback volumes, recently rebound in half-leather. A nice set with some signs of ageing to the page blocks, volume three with a small bleed to fore edge. 1946-1959 [Attributes: First Edition; Hard Cover]

      [Bookseller: Hyraxia Books. ABA, PBFA]
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        Titus Groan

      Eyre & Spottiswoode, 1946, Hardcover, Book Condition: Good, Dust Jacket Condition: Good, 1st Editionsupplied in a good facsimile colour jacket. the original boards are worn and marked. the book has no inscriptions and the binding is good. Quantity Available: 1. Inventory No: 48fa.

      [Bookseller: Chapter 1 Books]
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        Anglican Missal containing the Supper of the Lord and the Holy Communion, commonly called the Mass, together with Propers of the Season and Saints?and Forms of Prayer for the Lord's Supper. IN SIGNED SANGORSKI AND SUTCLIFFE BINDING

      Society of SS Peter and Paul, 1946 1946 Roy. 4to., with a frontispiece, and full - page illustrations and plainchant notations in the text; handsomely bound in full dark blue crushed morocco BY SANGORSKI & SUTCLIFFE, upper board elaborately blocked in gilt with a ornamental floral frame supported by urns and enclosing the Agnus Dei, back with five tall raised bands, second compartment lettered in gilt, gilt edges, boards edges with gilt rule, broad morocco doublures with elaborate multiple frame border of leaves, fillets and rolls all in gilt, marbled endpapers, seven coloured silk markers, four silk thumb - tags, covers mildly worn at corners and headband, upper board and backstrip unevenly sunned to green else a very good, bright, firm copy. The binding is signed with the extended Sangorski & Sutcliffe tool on front doublure. A typescript extract of the lesson from Ezekiel 18.26 is mounted between pp. 166 - 7. There are several usage flaws comprising crude repairs to long tear in half - title / frontispiece leaf, short tear in title, short tear in Communion iii, short tear in Various Prayers p.1315. A lovely example of a Sangorski & Sutcliffe clerical binding. Very scarce.

      [Bookseller: Island Books [formerly of Devon]]
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        Starling of the White House. The Story of the Man whose Secret Service Detail Guarded Five Presidents from Woodrow Wilson to Franklin D. Roosevelt, as told to Thomas Sugrue

      Simon and Schuster, New York 1946 - Presentation Copy to Eleanor Roosevelt Presentation copy, inscribed to Eleanor Roosevelt by David Kahn and Thomas Sugrue on the flyleaf. Segrue writes:"I dared not inject my own opinions into this record of Colonel Starling, but I was happy to tug at the historical garment hem of the only President I rank with my greatest hero - Jefferson - your husband, Franklin D. Roosevelt - Sincerely, Thomas Sugrue 3/9/46."Kahn, who was a mutual friend of Roosevelt and Sugrue and who encouraged the book's production (see page xvi of the introduction - "without his enthusiasm, stimulation, aid and support, it could not have been completed"), writes: "To Mrs. Eleanor Roosevelt: - The story of a faithful follower of your 'sainted' husband - to which I add my appreciation to you for your confidence and friendship. - David E. Kahn." Original red cloth. Very good (some toning of endsheets) Photographic frontispiece portrait. xvi, 334, [1] pp. 1 vols. 8vo [Attributes: First Edition; Signed Copy]

      [Bookseller: James Cummins Bookseller, ABAA]
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        The Road We Are Traveling 1914-1942: Guide Lines to America's Future as Reported to the Twentieth Century Fund

      The Twentieth Century Fund 1946 - 106pp.; HB turquoise w/blk.; slight rub; some pencil underline w/clean,tight pgs. DJ beige w/brwn.; some rub w/spine&edges darkened; some sml.chips. The first in a series of six books " .on the postwar questions with which the United States is now face to face." rare Size: 8vo - over 7¾" - 9¾" tall [Attributes: Hard Cover]

      [Bookseller: Xochi's Bookstore & Gallery]
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        The Mystery of the Spiteful Letters

      Methuen, 1946, Hardcover, Book Condition: Fair, Dust Jacket Condition: Poor, 1st EditionThe jacket is torn. Internally clean and tightly bound. light rippling. a touch cocked. Quantity Available: 1. Inventory No: 264z.

      [Bookseller: Chapter 1 Books]
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        Independent People [Signed] [Sjálfstætt fólk / Signet]

      Alfred A. Knopf, 1946, Hardcover, Book Condition: Near Fine, Dust Jacket Condition: near fine, First American editionA Near Fine copy of the first American edition, first printing, of one of Halldor Laxness' most important works (spine ends mildly pushed, spine gilt slightly dulled with a touch of rubbing, topstain shows some light fading near the spine) in a Near Fine dust jacket (light edge wear and light chipping at the corners, spine slightly darkened), SIGNED BY HALLDOR LAXNESS on the half-title. Halldor Laxness won the 1955 Nobel Prize in Literature "for his vivid epic power which has renewed the great narrative art of Iceland", the only Icelander ever to have won the Prize. Set in the early 20th Century, and published as a single volume in America, this great epic originally appeared in two volumes, "Landnámsmaður Íslands" (1934 - which, translated, means "Icelandic Pioneers") and "Erfiðir tímar" (1935 - which, translated, means "Hard Times"). The two works together comprise "Independent People", the tale of Bjartur, a poor Icelandic sheep farmer who, only recently freed from a system of debt bondage, struggles to survive in Iceland's harsh environment. In his presentation speech at the Nobel Prize ceremony, about Laxness and "Independent People", E. Wessén, Member of the Swedish Academy, stated: "Individual people and their destinies always move us most deeply in Halldór Laxness' novels.....Even more affecting, perhaps, is the story of Bjartur, the man with the indomitable will for freedom and independence, Geijer's yeoman farmer in an Icelandic setting and, with monumental, epic proportions, the settler, the landnámsman of Iceland's thousand-year-old history. Bjartur remains the same in sickness and misfortune, in poverty and starvation, in raging snowstorms and face to face with the frightening monsters of the moors, and pathetic to the last in his helplessness and his touching love for his foster daughter, Ásta Sóllilja." In the view of many, "Independent People" was of great importance in Laxness' winning of the Prize. Signed copies of this epic and important novel are quite scarce, and signed copies in English translation are even more so. A Very Good copy of one of Halldor Laxness' most significant works, SIGNED BY HALLDOR LAXNESS. QUITE SCARCE.

      [Bookseller: Allington Antiquarian Books, LLC]
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        The Garden

      London: Michael Joseph,, 1946. Octavo. Original green boards, titles and decoration to spine and front board gilt, top edge gilt, others uncut. Vignettes by James Broom-Lynne. Spine slightly rolled, tips bumped, occasional minor foxing to contents. An excellent copy. First edition, first impression, signed limited edition. Number 137 of 750 copies signed by the author.

      [Bookseller: Peter Harrington]
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        Concept of the Corporation

      New York: John Day Company, 1946. First edition of this business cornerstone. Octavo, original cloth. Signed by Peter Drucker on the front free endpaper. An excellent near fine copy in a very good dust jacket with some wear and tear. Rare, especially signed. Concept of the Corporation was the first study ever of the constitution, structure, and internal dynamics of a major business enterprise. Basing his work on a two-year analysis of the company done during the closing years of World War II, Drucker looks at the General Motors managerial organization from within. He tries to understand what makes the company work so effectively, what its core principles are, and how they contribute to its successes. The themes this volume addresses go far beyond the business corporation, into a consideration of the dynamics of the so-called corporate state itself. When it initially appeared, General Motors managers rejected it as unfairly critical and antibusiness. Yet, the GM concept of the corporation and its principles of organization later became models for organizations worldwide. Not only businesses, but also government agencies, research laboratories, hospitals, and universities have found in Concept of the Corporation a basis for effective organization and management.

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        Skull-Face and Others

      Sauk City, WI: Arkham House, 1946. First edition, 1/3000. Hardcover. 474pp. Octavo [24 cm] Black cloth over boards with gilt lettering and ornamental designs on the spine. Very good. The spine ends and edges of the covers are bumped and mildly rubbed, the endpapers are just a little discolored, and the pagers are tanned. With the dust jacket, illustrated by Hannes Bok, in very good condition. The jacket's spine, inside flaps, and rear panel are darkened, however the front panel is still quite bright. There are multiple small closed and open tears in the edges. Bleiler checklist. A first edition from an author noted for his Conan series, and his numerous fantastic adventure stories featured in Weird Tales.

      [Bookseller: Ken Sanders Rare Books, ABAA]
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        Typed Letter, signed ("Dick"), to Polan Banks

      Boston, Massachusetts 1946 - During World War II Captain Banks served as chief of the War Department's stage and screen section. Fine, in red custom morocco-backed folding box 2 pp. on Naval Department / Office of the Chief of Naval Operations" letterhead. With envelope. 4to

      [Bookseller: James Cummins Bookseller, ABAA]
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        Crows Can't Count

      Morrow 1946 - A near fine first edition in a near fine dust jacket, housed in a custom-made collector's slipcase. The year 1946 is on both the title page and the copyright page, with no mention of later printings. Original price of $2 on front flap of the dust jacket. Small closed tear less than one inch long on the top front of the jacket. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        TWO CLUES: Containing the Novellas THE CLUE OF THE RUNAWAY BLONDE and THE CLUE OF THE HUNGRY HORSE (Presentation Copy of the First Edition)

      New York: William Morrow, 1946. Gardner, Erle Stanley. TWO CLUES: THE CLUE OF THE RUNAWAY BLONDE and THE CLUE OF THE HUNGRY HORSE. New York: William Morrow, 1947. First Edition. A FINE bright copy in an attractive VERY GOOD ORIGINAL DUST JACKET (which has some tiny chips here and there & some trifling discoloration but shows very nicely). WARMLY INSCRIBED on the front-free endpaper: "To Tee Rose/ who has given me such a kick/ with the magic of her written words and the sheer Irish of her/ Lots of love from Erle." Underneath this, the author has signed his name in full: "Erle Stanley Gardner/March 1947." Tee Rose lived in San Francisco and she and ESG had a long and intimate friendship of nearly 30 years; she was a regular recipient of presentation copies from 1934 until the early 1960s. Please see the other Erle Stanley Gardner inscribed titles we have in stock. . Signed by Author. First Edition. Hard Cover. Fine/Very Good.

      [Bookseller: Lakin & Marley Rare Books]
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        The Holy Quran

      Kamil Muslim Trust, Hardcover, Book Condition: Good, Dust Jacket Condition: No JacketCopyright 1946. The boards are a bit marked and bumped. One rubber stamp and a gift inscription. Netting visible but the binding is holding. Quantity Available: 1. Inventory No: mw89.

      [Bookseller: Chapter 1 Books]
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        Barbara Hepworth. Sculptress

      London: Faber and Faber Limited for the Shenval Press,, 1946. With an introduction by William Gibson. Collected and edited by Lillian Browse. Octavo. Original light green cloth, titles to spine and front board in grey. With the pictorial dust jacket. Spine gently rolled, occasional minor mark to contents. An excellent copy in a rubbed and slightly chipped jacket with four tape repairs to verso. First edition, first impression. Inscribed by Barbara Hepworth to fellow sculptor Astrid Zydower MBE on the front free endpaper, "For Astrid, Barbara Hepworth, 9/8/48".

      [Bookseller: Peter Harrington]
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        Autograph letter signed

      [Stroudsburg], Pennsylvania, 1946. Eight pages on four sheets of paper (measuring 8 by 14 inches), neat cursive on recto and verso, staple bound. Text fresh and bright, light creases at foldlines, small bit of loss to upper corner of first leaf slightly affecting some words. ?'THE TRUTH OF THIS WHOLE PAGE STANDS JUST AS TRUE AS ANY HOLLER IN ANY LAND ON EARTH?": EXTRAORDINARY 1946 AUTOGRAPH LETTER SIGNED BY WOODY GUTHRIE, FEATURING A LENGTHY LYRIC POEM AND EIGHT ORIGINAL SKETCHES. Original signed autograph letter, this eight-page letter written entirely in Woody GuthrieÕs hand, signed by him and dated ?'10-8-?"46,?" vibrant in imagery that captures ?'GuthrieÕs importance in the American literary traditionÉ [and] strong impact on songwriters of the next generation, most notably Bob Dylan?" (Santelli), featuring GuthrieÕs pensive yet whimsical long poem to intimate correspondent Charlotte Strauss, with eight original sketches of a man adrift in a swirl of hearts. In the autumn of 1946, Guthrie and his wife Marjorie shared a house in the Pocono Mountains near Stroudsburg, Pennsylvania with two other families, spending weekends together and allowing Guthrie time alone during the week to work. This eight-page letter to his close friend Charlotte Strauss?'at once elegiac, Whitmanesque and undeniably the voice of Woody Guthrie?'is especially poignant in a cascade of closing poetic stanzas accompanied by his sketches of a man adrift in a swirl of hearts. As the letterÕs vivid lyricism makes clear throughout, ?'GuthrieÕs importance in the American literary tradition cannot be separate fromÉ an uninhibited stream-of-consciousness style [that] would have a strong impact on songwriters of the next generation, most notably Bob Dylan?" (Santelli, 88). Here Guthrie writes of autumnÕs vibrant colors, bright as any ?'on the slopes of Montana?" or seen in the ?'glows of our Oklahoma sunsets.?" Where ?'sky lights dance all over every leaf,?" he writes, ?'I can hear in all of these colors my own first and true song.?" This is the eloquence and vision that Guthrie shared with Whitman, both seeking an American voice that would ?'roll with the strong cadences and ?"varied carolsÕ of the American people?" (Santelli, 70). GuthrieÕs letter reads: ?'?'-?"sburg, Pennsylvania 10-8-?"46 Page One These colors up here in the Poconos make me feel like IÕm sinking down and jumping up new. The red is red like paint in a bucket poured, splashed, smeared all together with funny yellow leaves, dull brown ones, bushes dobbed purples and all crazy kinds of shadows, all kinds of sun sprays and sky lights dance all over every leaf. IÕm glad IÕm here. IÕm glad IÕm here, glad to eat here, glad to walk here on these ponds and drifts of dead leaves. I doubt if you Pocono folks really ever can know how lucky you are to have these painted leaves all around here you here. It might take my mouth and my voice to tell you what you see here. IÕm just a roadwalking stranger here, myself. You watch me walk past or through your trees and leaf piles and paid me no mind, gave me no footrace nor wild run. You may have asked yourself what sort of a work can such a man as me do? I can tell you about your Poconos because I fought the Kittytannies to sleep with your Alleghehanies [sic]. I sung songs and told stories to your Delaware from her tail down to her mouth. I always done all right for myself. I always tried to do right by you. Most times you done all right by me. When it all worked together we all done allright by one another. I feel the same as you feel when I walk along your apple hills here and taste all of these pretty colors. And I sing to your Delaware girls and they taste of every sweet flavor and scent of your leaves. I see leaves that fall and leaves that hold tight, I see girls that do the same. I can just look out across these going hills and sing to every woman in Pennsylvania. [two inch loss to right corner affecting several words in first two lines of text] 2 [page number circled] 10-8-?"46 I know your Sambo Creek b?' [text missing] built Rockwell dams with my bare [text missing] here to make wading pools and pools to strip naked and swim in. I dug your loose shale rock and your mud all full of grassroots, and I saw your bull frog, tadpole, water bug, water spider, saw your little fast water snake this late in October. I found your black crawfish and your little red sandy mud lizards buried away, I guess, for the whole cold season which is going to come any day now. I saw the sharecropper kids walk down your hill trails and heard them ask me could they swim or wade in my pools? I said these pools are not mine, they are yours, go ahead and splash them dry. They asked me could they go over to that tree there and pick up some green walnuts. I said yes, go ahead, and pick all your dress and apron can hold. The boy carried a little dead watersnake on a long stick and they asked me all about the snake. I told them it was justa snake was all I knew. They asked what kind of a snake it was. Then one of the boys said, aww, itÕs a dead snake. This same little girl taught me how to lift up these flat rocks and rotten logs and how to twist the tails off of little baby lizards. IÕve seen these kids around the place here several times, but they didnÕt waste very many words on me up until today. The three of them come every day at a certain hour to carry off our garbage and to feed it to their hogs. I would say from the looks of their faces, eyes, hands and bare feet, that they ought to be fed a whole lot better, lots better stuff, and lots more of it several settings every day. When will some of you Pennsylvania writers and singers sing and write about the real people back here in these hills of ours? Yes, I call them our hills already and my nameÕs not even on any mail box. My name is down on the paper at your unemployment office as a ?"character singerÕ and a ?"literary writerÕ. I guess I sing about characters and write about literature or something. 10-8-?"46 3 [page number circled] I can hear the birds of the night calling all around me in my good trees. I can hear birds with names I never will know. IÕll always know you by the sounds of your songs, I guess, and maybe never know you by your name in a book. I can hear the cricketÕs little scratchy fiddle song right here somewhere under my floor. I can hear him rub his legs together and sing out what he believes in. I can hear him sing up and sing loud, and hear him sing like he feels. Makes me wish I could rub my legs together and make music. IÕd never have to buy fiddle strings nor bow harps. Never have to buy no guitar strings, no new mouth harp every month or so. I only wish I knew how to talk or to sing cricket lingo. Then I could listen to him all of the time in every country on the map, and be able to understand the cricket in every foreign tongue across the oceans and all around the world. All I can say here tonight is sing on, little cricket, sing on. Stay away from that saloon down yonder on the road where that sign on the old well says, No Singing. The weeds, bushes, and vines sway in the breezes here tonight and they scratch on all of my window screens. Scares me so much it keeps me jumping and twisting and turning to look. IÕve not lived in this house but a week or so, not long enough to get used to all its screaks and sounds and noises. So, well, every time I hear some rap, or knock, or stomp, or bell, or rub, or a scrape, or a bump or a bang, my finger nails itch and my hair raises up, my mouth flies open, and I tremble and shake all over, like a scared dog does. Like youÕve seen a scared horse do out along some stormy pasture. Sambo Creek is pretty and Sambo Creek is spooky, ghosty and scarey [sic]. Sambo Holler is prettier than its name, but Sambo Holler is a scarey place to a newly come stranger in an old and rambling farm house. IÕve learned to get scared easy and to like it. IÕve learned not to get too scared of anything outside of my own self. 4 [page number outlined] 10-8-?"46 I donÕt [sic] guess I could change the colors on one little leaf and make it any better to look at. I couldnÕt retouch even one limb or twig, or stump or tree trunk and make it look any better to a squirrel or nicer to a chipmunk. These are as bright as the flaming Indian bush leaves on the slopes of Montana. These are as fiery and as easy to the eye as all of the glows of our Oklahoma sunsets. All of the colors of Californias [sic] palms and cactus are here somewhere up and down this Sambo Holler. The art museum did not steal all of our best colors. The library didnÕt pack all of them down from these mountains. IÕve walked in a hundred studios and galleries and seen most all, but not all, of these wild jumping hills of the Pocono Ridge. I see all of New Mexicos [sic] purple shades and gold hues here. I see the tans and flat greys and browns of Texas here. The blues and greens and tricky clear colors of Colorado I can sing out to in my good old Pocono humps. North Africas [sic] sandy, whitish, dusty colors are all here. The colors up from out of the Mediterranean are all here. You can hear the same mountain sounds, whoops, barks, yells, grunts, hellos and all of the same sounding songs here, if you look with your clean eye. New York Citys [sic] metal and brick colors are here where the sun can get a better shot at them. It seems to me that the colors do make a music of their own. They make the birds, bugs, bees, dogs, sheep, cattle, and all of our crawlers and creepers make their own music. It makes me see the deep places of music and it hurts my heart to feel and to hear most of the music of our neon bulbs. Here you can hear the tale and see the story of the hill people, the valley people, the farming people, and the busy city people. I think I can hear in all of these colors my own first and true song. I can see my song splashed out here in front of me. And I can hear it. My first and last song. I can hear your song the same. I can hear them meet and travel and roll down across the grass roots. I guess all of these leaves of things are my note books and my songbooks. These must be a good big part of my school books. And here is where I have watched the people and wrote the people down here in my hand. 10-8- ?"46 5 [page number circled] And this is the color of the place where we had the child and the next child. Here are all of the colors where the other child died. And I see the colors of places where some got lost, some got hurt, some got knocked down and some got killed here. There are as many of thee to come to mind as I see colors out across yonder. As many hunted here for the same thing I hunt here for. Yes. We did all hunt for the same things here. And the things we hunt for are the same every century. The same in every color of every running season. We hunted here in our old centuries for this same thing. We hunt here in our new century for it. We will walk here and talk here, fall here and hug here, kiss here, feel here, and roll with the clouds here in our centuries that are still spun in our webs and laid full of our seeds are born and spun and seeded and hung up again. And all we hunt here for is our own self and selves. To see one another better and our own self better. To find health here, food and air and water to grow on, new ground to break and harrow and plant and argue and debate and fight on. These same tree frogs have sung and will sing just about the same music note in each of our come and gone centuries. The word we look for here could be called love. It could be called unity. It could be called most anything, any word. It could be called truth or could be called light, spirit, life, new birth, rebirth, or any other sound meaning the same on every tongue. This is our word together which none of us will ever hear or know apart. It drives and herds us to come together and to work for the best good of all of us. And this is why you come here and why I come here. To find some one little word, or glance, or look, or breath, that we have not yet found in any other place. But the place is everywhere and the truth of this whole page stands just as true in any holler in any land on earth as it stands for us and our Poconos. 6 [page number circled] 10-8-?"46 This ridge and this valley along Sambo Creek are full of the animals and peoples that heard the song of all of our colors here. They grabbed axes, plows, saws, hammers, nails, cement, sand, rocks, gravel, machinery and tools and raised up these houses you see scattered. Sambo Creek is a pretty little creek. Its [sic] a rocky little creek. ItÕs an awful cool and clear little creek. Its sounds are keen and high and low like the music the rains play. And the only reason why I can walk here and really listen and hear and see all of this is because I listen in love. And my love takes the sounds of the music on to the one that knows me and listens for my music and brings me her own. I done this same sort of passing on when I washed my dishes in the kitchen of the ship in the days when I was a Merchant Mariner. And now are my words laid in the ways of a fable? Are they said in the fashion of the proverb? Are they dancing to skin drum poetry or to the plaster cracking on a school wall? A wall or a hall or no place at all. My love will catch all of this and digest it into all of the honey and milk that I can drink. [following in verse stanzas] Will these apples reach the glory, Or this falling down house, As these letters by me, And by Charlotte of Strauss? IÕll rest a little hour or two Yes, IÕll rest an hour or two And rest here an hour And an hour or two And then, baby, wake up, And come straight for you. IÕm oh glad, so glad oh glad So glad IÕm so glad Glad oh yes glad glad glad That I took a little Quick rest To rest up my head. A hundred songs IÕve got to send Down to that Delaware RiverÕs bend. 10-8-Õ46 7 [page number circled with lines at sides] Charlotte of Strauss Charlotte of Strauss Charlotte of Strauss Charlotte of Strauss [verse stanzas spaced as shown] A thousand verses Ought to go Down where those Big high maples grow. Seven thousand Ought to run Down that river To the rising sun. A whole big bundle Ought to flow Down this DelawareÕs rim I know. Several more And then some more Ought to ease down This RiverÕs shore. How many should go I cant [sic] say Down to sweet old BristolÕs way. More than I have ever wrote Ought to go down To join her thoughts. When I can IÕll throw them in The Delaware here And float them down. Watch for the Loose leaves fell from trees Because my songs Sound best on these. Listen for a wild wind Passing you by This is the way my Wild songs fly. Go down where The maples grow And say youÕre coming Yes or no. But not no. ?"Cause I canÕt take no. And I wont [sic] take no. Wont [sic] have no. Dont [sic] want no. Had too many noes [sic] On my river already. [following lines written at an angle] If you do say no You go say it Way back Way back Over in back Of that old dark Hill Yonder Where nobody Cant [sic] hear you And where you Cant [sic] hurt nobody. 8 [page number circled with lines at edges] 10-8-46 C of S [verse stanzas spaced as shown, sketches of six hearts and three sketches of a manÕs shape outlined, at left and right margins] And dont [sic] say to wait Wait is worse than to Say no. Wait hurts And a no feels good Wait makes you sick A no cures you all over The word wait Works okay In lots of conversation But Not In Our Conversation Because Loving and waiting Are two Different people Love waits When the waiting Is a part of the road But Love dont [sic] wait Till the weather clears up Nor the bills are paid up Nor it DonÕt [sic] even wait Till The head clears up IÕm the worlds [sic] Worst waiter I hate to wate [sic] Or to wait I hate I hate Waiting And waiting Hates me If I ever waited On anything Or anybody Or any train Or any letter Or any earthy event IÕm sorry I done it Sorry I waited I never advised Anybody anywhere To wait On anybody And I ainÕt gonna start This late in life So dont [sic] wait On me. The same Woody.?" An about-fine document of key significance to the life and legacy of Woody Guthrie.

      [Bookseller: James Cummins Bookseller]
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        The Paradine Case (Original screenplay for the 1947 film, Final Shooting Script, dated December 10, 1946)

      Vanguard Films, West Hollywood, CA 1946 - Final Shooting script for the 1947 film. Based on the 1933 novel by Robert Hitchens, this script dates from the time of the film's production, after having been shelved for over ten years. With credits on the front wrapper for both Alfred Hitchcock and Alma Reville.Goldenrod studio wrappers, noted as FINAL SHOOTING SCRIPT on the front wrapper, rubber stamped copy No. 23, dated December 10, 1946, with credits for director Hitchcock, novelist Robert Hichens, screenwriters James Bridie, Alma Reville, and Ben Hecht,and producer David O. Selznick. 177 leaves, mimeograph. Pages and wrapper Near Fine, internally bound with three gold brads. Selby, pp. 92-93. Spicer, p. 416. [Attributes: Soft Cover]

      [Bookseller: Royal Books, Inc., ABAA]
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        Isabelle récit par André Gide avec dix-sept lithographies de Lascaux

      Paris: N.R.F., 1946. An excellent unsophisticated copy of the 'deluxe' issue of  this limited edition with an important provenance: the edition as a whole limited to 600 copies, of which 30 were printed on 'japon impérial' paper and accompanied by the illustrations in two suites, this being number 2 of 22 copies numbered from 1-22. Text vol.: pp.[i-ii, 1-]10-152[-158], printed in red and black, on 'japon impérial' paper. Lithographic title vignette, 16 lithographic illustrations (9 full-page; 7 presented as headpieces), some other decorations printed in red, EXTRA-ILLUSTRATED with an original black and red ink drawing, inscribed and signed by Lascaux, and dated '47;  atlas volume: without text, the 16 lithographic illustrations presented in two states: in black on a warm-toned 'annam' paper, and in 'carmin' (red) on a cooler toned 'chine' paper). 4to. Both volumes unbound within original pink paper wrappers, both contained within a single pink paper-covered board 'chemise', all within a matching pink paper-covered board slipcase. (Spine of 'chemise' and some areas of the slipcase faded). Very good indeed. The deluxe issue Provenance: ?Donald C. Gallup (original drawing inscribed 'Le livre de André Gide avec / des illustrations de votre ami cher Gallup / Elie Lascaux / 47'). The inscription probably refers to Donald C. Gallup, bibliographer and Yale library curator, a strong advocate for the artist Elie Lascaux and a keen collector of his work. In addition, Gallup mounted two exhibitions of Lascaux's work at Yale. 'Isabelle', first published in 1911, tells the story of a young man whose studies take him to the remote country home of an eccentric family, where he falls in love with a portrait of their absent daughter. As he unravels the mystery of her absence, he is forced to abandon his passionate ideal. The illustrations are by  Elie Lascaux. "Gertrude Stein once described the paintings of French artist ... Lascaux (1888-1968) by saying that in all his works there is 'that white light which is the light that Elie Lascaux has inside him.' ... Donald Gallup, wrote that this light 'is at once the key to the charm which his work holds for his admirers and a hindrance to his gaining the appreciation of those who do not instinctively understand him.'... In a catalogue for an exhibition celebrating the 100th anniversary of Lascaux's birth at the Galérie Louise/Leiris in Paris in 1988, Gallup wrote: 'In the main, he was content to portray only scenes long familiar and well understood: the streets and buildings of Paris, especially Montmartre and the Ile de la Cité, Versailles, Limoges (where he was born) and the surrounding towns and countryside. In these pictures, there is a sureness, sensibility, and sincerity, born of deep knowledge and true affection, set down in his own inimitable, unique way.' Lascaux moved from his village to Paris in 1905 when he 17 and took jobs as an actor and singer before he became an architect's draftsman. After being wounded in World War I, he was held prisoner by the Germans early in 1915. A German officer of the prison camp allowed Lascaux to spend his time painting, and Lascaux made a career out of art when he returned to Paris after the Armistice. In 1921, the artist Max Jacob brought Lascaux to the attention of Kahnweiler, who represented many Cubist artists. Lascaux's work was subsequently shown in the art dealer's gallery. This is the second time Lascaux's work is being shown at Yale. In 1951, Jonathan Edwards College hosted a larger exhibit of his work, also drawn from Gallup's collection. " ('Yale Bulletin & Calendar,  January 21, 2000Volume 28, Number 17". .

      [Bookseller: James Cummins Bookseller]
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        The Art of William Dobell (Present Day Art in Australia Series)

      Ure Smith Pty Limited, Sydney, 1946, Hardcover, Book Condition: Fair, Dust Jacket Condition: No Jacket, 1st Edition, Signed by Author(s)136 pages (complete). Coloured plates and plates of b/w work. Preface and published by Sydney Ure Smith whose life's work was to publish, in the best technological way possible, coloured work by Australian artists. He was a dedicated supporter and promoter of Australian artists at a time when it was not easy, nor fashionable to do so. Brian Penton, who wrote the introduction, was a successful journalist who supported Dobell when he won, amidst controversy with his 'caricature' painting of Joshua Smith - a fellow Australian artist (this painting is included in this book). Dobell's 'caricature' of Penton is also included. This copy is signed by Dobell (who was later knighted) on the verso frontispage. Apparently leather bound for presentation. The cover has wear to the corners, the head and foot of the spine and to the shelving edges. The spine is strong and muscular. There is evidence of ownership and usage throughout. The frontis and end pages have foxing. The binding is firm and secure. The initial pages have some handling marks. The contents are bold, vivid, vigorous, clean, clear and very confident. fk Quantity Available: 1. Category: Art; Australia; Signed by Author(s). Inventory No: anhf.

      [Bookseller: Chapter 1 Books]
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        LA POBLACION NEGRA DE MEXICO 1519-1810 THE BLACK POPULATION OF MEXICO

      While a string of books and articles were written in the 1920s and 30s onAfro-Mexicans, it was in the 1940s when the so-called birth of Afro-Mexicanhistorical studies began. The credit is usually given to the work of, GonzaloAguirre Beltr?n, whose La Poblaci?n Negra de M?xico (1946) has become thecornerstone of the field. Having been trained by Melville Herskovits atNorthwestern, Aguirre Beltr?n's book was the first to systematically employa methodology for examining the African roots of Mexico's population. Hisbook also offered a sweeping demographic analysis of the colonial blackpopulation, stressing the extent to which blacks could be found throughoutNew Spain. One of the book's main arguments took a cue from the MexicanRevolution. As revisionist as it was in giving space to Afro-Mexicans in thenation's history, La Poblaci?n Negra emphasized assimilation and hybridity,noting that the colonial Mexican caste system and its abolition during theIndependence era created superb circumstances for racial mixture. Apart from a few isolated regional pockets, Aguirre Beltr?n wrote thatAfro-Mexicans had eagerly and spontaneously blended into the broadernational population by the early years of Independence.It is important to stress that Aguirre Beltr?n's work, while pioneering,was not written in isolation. German Latorre (1920) had already started thedemographic work that proved foundational to the writings of AguirreBeltr?n. Carlos Basauri's (1943) ethnographic study of Mexico's blackpopulations proved influential to Aguirre Beltr?n's later writings. Lastly,Aguirre Beltr?n's decision to study Afro-Mexicans was not an idea heconceived of himself. Rather, he appears to have been prodded into theproject upon the suggestion of Manuel Gamio, one of the leading intellectualfigures of Mexico's Revolutionary period.The era of scholarship on Afro-Mexicans that stretched through the 1940s,50s, and early 60s can be categorized as one of gradual internationalization,as more scholars from outside of Mexico began paying closer attention theMexican case. Aguirre Beltr?n's study came at a particularly opportune timein this regard. It was published during the same year as Frank Tannenbaum'sSlave and Citizen (1946), which opened a series of debates that launched thecomparative slavery school.11 Through an increasingly internationalizedunderstanding of slave systems, scholars began trying to uncover the rootsof the "Negro problem" that had so beleaguered the United States, butwhich seemed largely resolved in Latin American societies. Tannenbaum'sthesis that Latin American slavery was qualitatively different than in NorthAmerica and the British colonies sent scores of scholars scurrying to prove(or disprove) his points.Aguirre Beltr?n's book, although engaged inconversation with a different historiography, emerged in the context of theTannenbaum debate as an important tome on Mexican slavery and LatinAmerican race relations, offering some support to the idealized, benignportrait of Latin American slave systems. The book was positioned alongsideother important classics that were written by nationalistically oriented scholarswho sought to affirm Latin American race mixture, such as Gilberto Freyrein Brazil, and to a lesser extent Fernando Ortiz in Cuba.12 The ramificationsof these early investigations into the condition of race within individual

      [Bookseller: Mikandra Books]
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        Panels For The Walls Of Heaven

      San Francisco: Bern Porter, 1946. First, Limited Edition. Apparently an out of series copy, as the rear panel does not include the hand-painted colophon seen on most other examples, and is not signed by Patchen. Possibly a trial copy; or Patchen might simply not have liked the dark, somewhat muddy image enough offer it for sale. It is easy to imagine a dejected Patchen not wanting to be bothered with "improving" the painting; Morgan states that Patchen so loathed the design and finished look of this title that he "refused to aid the book sales in any way" and remained enemies for years with Bern Porter, the publisher. Square octavo. Original cloth-backed boards; 67p. One of 150 special copies, with front and rear boards hand-painted by Patchen; this copy out of series, and possibly unfinished; at any rate a somewhat less compelling image than we are used to seeing on Patchen's painted books. Just slight rubbing to cloth spine, two small abrasions to board extremities; else a strong, unworn copy; lacking the original acetate jacket. MORGAN A12.

      [Bookseller: Lorne Bair Rare Books]
 41.   Check availability:     Biblio     Link/Print  


        London via Constellation. World Leader in Speed, Comfort, Safety

      Kansas City: Trans World Airlines,, c. 1946. Sheet size: 99.6 x 66.2 cm. Process lithograph on wove paper. Sellotape to corners, small chip to right hand margin with a short tear entering the image. An image of Queen Boedicca on her chariot in front of Big Ben with a Lockheed constellation flying overhead. Advertisement for Lockheed Constellation. The L-1649 Starliner was a propeller-driven airliner powered by four 18-cylinder radial Wright R-3350 engines and was the last model of the Lockheed Constellation. This passenger aircraft was one of the first regular transatlantic carriers.

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


        Poemes d'amour. Illustres de vingt-et-une pointes seches originales, colorees a la main, de P.-E. Becat.

      Paris, Georges Guillot, s.d. (1946),. in-4°, XII y compris l'eau-forte en frontispice + 135 p., orne de 45 lettrines de M(arie) Monnier + 20 eaux-fortes en couleurs + 1 suite en sanguine + 1 suite en noir + 1 dessin original signe de l'artiste + 1 cuivre encre, non relie, sous couverture dans la chemise et l'emboitage d'edition.. Un des 20 exemplaires de tete (n° 15) numerote sur velin d'Arches a la forme, avec 1 dessin aquarelle original signe au crayon par l'artiste et legende "n. 31. Per Amica silentia ...", accompagne d'une suite en sanguine des 21 eaux-fortes tiree sur Japon imperial, d'1 suite en noir avec remarques tiree sur Japon imperial, et d'un cuivre encre. Edition limitee a 601 exemplaires illustres de 21 eaux-fortes en couleurs (dont 20 sous chemise a la fin de l'exemplaire, et une en frontispice). Illustration a caractere erotique.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
 43.   Check availability:     ZVAB     Link/Print  


        History of Western Philosophy and its Connection with Political and Social Circumstances from the Earliest Times to the Present Day

      George Allen & Unwin, 1946, Hardcover, Book Condition: Very Good, Dust Jacket Condition: Good, 1st Edition, Signed by Author(s)The book is inscribed by Russell on the half-title page in green ink thus: "For Lil from Bertrand and Lee". No other inscriptions. The half-title page is slightly darkened. The original jacket (which was printed on the rear of old maps) is shelf-worn and the top and bottom of the spine are frayed. The back of the jacket is slightly marked and there are other small tears. The jacket, however, presents well in cellophane. The book is very well bound. Quantity Available: 1. Category: Philosophy; Signed by Author(s). Inventory No: 16et.

      [Bookseller: Chapter 1 Books]
 44.   Check availability:     Bookzangle     Link/Print  


        The Inhabitants

      New York: Charles Scribner's Sons, 1946. FIRST EDITION. VERY GOOD ANTIQUARIAN CONDITION. Large quarto. Unpaginated (principally illustrated with photographs and texts by Wright Morris. Original beige cloth with title embossed in large letters, unclipped original dust-jacket with some wear at extremities, thin white crease on cover. The first photo-novel about America's heartland in the 1930's and 1940's, with many strikingly simple and direct photographs that perfectly represent the time and place. The photographer writes: "I saw the American landscape crowded with ruins and believed myself chosen to record this history before it was gone." * Wright Morris is the creator of the "photo-text." In The Inhabitants, photographs were paired with fictional texts; he began the project in 1938 as he traveled through the East and was moved by artifacts from the past. To his surprise, Morris began writing short prose texts related to these images, and they began to combine with the images to form something greater than the two parts. * This body of work was the product of a Guggenheim Fellowhip (the second ever presented for photography), and allowed Morris to return to his native state of Nebraska to photograph the landscape and artifacts of the life he wanted the country to remember. "Like an archeologist, he focused not on people directly, but their artifacts -- objects (mostly made of wood) bearing their imprint" (Andrew Roth, The Book of 101 Books: Seminal Photographic Books of the 20th Century). In a letter to the photographer, Thomas Mann wrote: "What these courageous pictures show is the harsh beauty of ugliness, the romanticism of the commonplace, the poetry of the unpoetical.

      [Bookseller: Michael Laird Rare Books LLC ]
 45.   Check availability:     ABAA     Link/Print  

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