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

        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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        Eight Manuscript Poems.

      (c. 1946) - Octavo. (8)ff. A manuscript poetry chapbook handmade by Robert Frost and inscribed by the poet with the dedication, "A Preview / for Nita and Doc / from / R. F. / After a good Bread Loaf / 1946." "Doc" refers to Frost's friend Reginald Cook, a Middlebury professor who was the director of the Bread Loaf School of English for many years. Frost met Cook in the mid-1920s, and they remained friends until the poet's death in 1963. Cook kept written records of his conversations with Frost and transcribed his lectures, and he later published the book Dimensions of Robert Frost in 1958. This collection of poems was presented to Cook and his wife after his first session as director in 1946. The eight verses copied in Frost's hand are "To an Ancient," "Something to Hope For" (published as "Something for Hope"), "One Step Backward Taken," "Why Wait for Science," "But He Meant It" (re-titled "The Broken Drought"), "The Courage to Be New," "A Mood Apart," and "Bravado." These were a preview of some of Frost's new poems, all of which would be published in his 1947 collection Steeple Bush. Apart from the changes of title, most of the poems appear in the chapbook exactly as they would in publication. However, in the chapbook, "Courage to Be New" is followed by a four line postscript, and four changes in wording were made to lines in "Something for Hope." These changes reveal slight shifts in sound and sense, showing how Frost continued to edit and refine his work. Bound together in side-stitched self-wrappers. Very fine. [Attributes: Soft Cover]

      [Bookseller: Bromer Booksellers, Inc., ABAA]
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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]
 18.   Check availability:     IberLibro     Link/Print  


        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]
 21.   Check availability:     Biblio     Link/Print  


        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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        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 Guthrie?s hand, signed by him and dated ?10-8-?46,? vibrant in imagery that captures ?Guthrie?s importance in the American literary tradition? [and] strong impact on songwriters of the next generation, most notably Bob Dylan? (Santelli), featuring Guthrie?s 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 letter?s vivid lyricism makes clear throughout, ?Guthrie?s importance in the American literary tradition cannot be separate from? 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 autumn?s 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 carols? of the American people? (Santelli, 70). Guthrie?s letter reads: ??-?sburg, Pennsylvania 10-8-?46Page One These colors up here in the Poconos make me feel like I?m 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. I?m glad I?m here. I?m glad I?m 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. I?m 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, it?s 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. I?ve seen these kids around the place here several times, but they didn?t 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 name?s not even on any mail box. My name is down on the paper at your unemployment office as a ?character singer? and a ?literary writer?. I guess I sing about characters and write about literature or something. 10-8-?463 [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. I?ll 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 cricket?s 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. I?d 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. I?ve 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 you?ve 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. I?ve learned to get scared easy and to like it. I?ve learned not to get too scared of anything outside of my own self. 4 [page number outlined] 10-8-?46 I don?t [sic] guess I could change the colors on one little leaf and make it any better to look at. I couldn?t 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 didn?t pack all of them down from these mountains. I?ve 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- ?465 [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. It?s 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?I?ll rest a little hour or two Yes, I?ll 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.I?m oh glad, so glad oh glad So glad I?m so glad Glad oh yes glad glad glad That I took a little Quick rest To rest up my head.A hundred songs I?ve got to send Down to that Delaware River?s bend.10-8-?467 [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 Delaware?s rim I know.Several more And then some more Ought to ease down This River?s shore.How many should go I cant [sic] say Down to sweet old Bristol?s way.More than I have ever wrote Ought to go down To join her thoughts.When I can I?ll 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 you?re coming Yes or no. But not no. ?Cause I can?t 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 nobodyCant [sic] hear youAnd where youCant [sic] hurt nobody. 8 [page number circled with lines at edges]10-8-46C of S[verse stanzas spaced as shown, sketches of six hearts and three sketches of a man?s shape outlined, at left and right margins]And dont [sic] say to waitWait is worse than toSay no.Wait hurtsAnd a no feels good Wait makes you sick A no cures you all over The word waitWorks okayIn lots of conversationButNotInOurConversationBecauseLoving and waitingAre twoDifferent peopleLove waitsWhen the waitingIs a part of the roadButLove dont [sic] waitTill the weather clears upNor the bills are paid upNor itDon?t [sic] even waitTill The head clears upI?m the worlds [sic]Worst waiter I hate to wate [sic]Or to wait I hate I hateWaiting And waitingHates me If I ever waitedOn anythingOr anybodyOr any trainOr any letterOr any earthy eventI?m sorry I done it Sorry I waitedI never advisedAnybody anywhereTo waitOn anybodyAnd I ainÕt gonna startThis late in lifeSo dont [sic] waitOn me.The sameWoody.Ó An about-fine document of key significance to the life and legacy of Woody Guthrie.

      [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.

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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]
 28.   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]
 29.   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.]
 30.   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]
 31.   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 ]
 32.   Check availability:     ABAA     Link/Print  


        LA DICTATURE LETTRISTE Cahier d’un nouveau régime artistique. Le seul mouvement d’avant-garde artistique contemporain.

      Paris 1946 - In-12, 79, [1] pages, broché, couverture imprimée. Premier cahier [seul paru]. Fondateur : Isidore Isou. Édition originale. 1ère publication lettriste qui contient le manifeste fondateur de ce mouvement : «Principes poétiques et musicaux du mouvement lettriste» rédigé collectivement par : P. Armandy, G. Baudoin, Brasil, M. Deutsch , I. Isou, B. Leconte, G. Pomerand G. Poulot, etc. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Lecointre-Drouet ]
 33.   Check availability:     AbeBooks     Link/Print  


        Situation Vacant

      Collins for the Crime Club, 1946. 1st edition. Hardcover. Very nice original orange boards, very clean pages and endpapers, in a very near fine dustjacket, not price-clipped, a slightly paled spine, a few small pieces of conservation, lightly rubbed to the rear. All in all, an extremely nice copy of a scarce Burton crime novel, featuring Inspector Arnold and his friend Desmond Merrion.

      [Bookseller: Shellhouse Books]
 34.   Check availability:     Biblio     Link/Print  


        Economics in One Lesson

      New York and London: Harper & Brothers,. Octavo. Publisher's blue cloth, spine titled in gilt, with the dust jacket. Spine ends and corners lightly rubbed. Dust jacket frayed at head and spine ends, with some chipping, rear panel darkened. A very good copy. First edition of a work which had a remarkable influence and success, not only in America. Endorsed by Hayek as "a brilliant performance... I know of no other modern book from which the intelligent layman can learn so much about the basic truths of economics in so short a time" (dust jacket blurb), Hazlitt's work, like that of his French predecessor Frédéric Bastiat, exposed the popular fallacies of his day. "A brilliant and pithy work first published in 1946, at a time of rampant statism at home and abroad, it taught millions the bad consequences of putting government in charge of economic life. College students across America and the world still use it and learn from it. It may be the most popular economics text ever written." (The Mises Institute website).

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


        das silberboot. Zeitschrift für Literatur. 2. Jahrgang März 1946 - 5. Jahrgang 1952 (alles nach dem Krieg Erschienene).

      Salzburg, das silberboot 1946-1952.. 8°. OBr.. Die vollständige Serie der Nachkriegsjahrgänge (zwischen 1935 und 1938 waren die intern als 1. Jahrgang bezeichneten Hefte erschienen). Ab Heft 8 des 2. Jahrgangs mit dem Vermerk der Zusammenarbeit mit Willi Weismann, Die Fähre. Fischer/Dietzel 1054. Neben 'Plan' und 'Turm' die bedeutendste Literaturzeitschrift der unmittelbaren Nachkriegszeit in Österreich, stärkste Berücksichtigung von Autoren im Exil (Erstdrucke Hermann Broch, Max Brod, Elias Canetti, Albert Ehrenstein, Werner Kraft, Theodor Kramer, Else Lasker-Schüler, Klaus Mann, Robert Musil, Friedrich Torberg, Johannes Urzidil, Berthold Viertel u.a.), der Weltliteratur (Erstdrucke von Franz Kafka, James Joyce, Marcel Proust) und jüngeren österreichischen Autoren (Rudolf Bayr, Herbert Eisenreich, Hans Heinz Hahnl, Ilse Leitenberger), vornehmlich jedoch das Mittelalter: Otto Basil, Herbert Burgmüller (der an den Vorkriegsheften mitgearbeitet hatte), Hermann Grab, Felix Grafe, Alfred Grünewald, Albert Paris Gütersloh, Jakob Haringer, Hermann Hesse, Erich Kahler, Ernst Kreuder, Paula Ludwig, Theodor Sapper, Alfred Margul-Sperber, Erika Mitterer, George Saiko, Hans Weigel u.a.). Schwerpunkthefte sind Hermann Broch, Rainer Maria Rilke, Hermann Hesse, Karl Kraus u.a. gewidmet. - Gutes Exemplar in den Einzelheften.

      [Bookseller: Georg Fritsch Antiquariat]
 36.   Check availability:     ZVAB     Link/Print  


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

      Paris, Georges Guillot, s.d. (1946),. in-4°, XII y compris l'eau-forte en frontispice + 144 p., orne de 45 lettrines de M(arie) Monnier + 20 eaux-fortes en couleurs + 1 suite en noir avec remarques sur Japon mince + 1 prospectus sous couverture, non relie, sous couverture blanche.. Edition limitee a 601 exemplaires. Un des 26 exemplaires d'artiste sur Rives (n° V), auquel on a ajoute le prospectus d'edition de l'ouvrage reprenant le titre, p. 21-27 et 3 illustrations en couleurs. Illustration a caractere erotique. Bel exemplaire. Carteret ne mentionne pas les exemplaires d'artiste. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

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


        THE DEADLY PERCHERON

      Dodd, Mead & Company, New York 1946 - Octavo, cloth. Author's first novel. "Bardin's three novels have close affinities with the Hollywood "film noir" of the 1940s, combining eerily mysterious occurrences with an interest in abnormal psychology and dreams, and an almost Gothic sense of the ways in which the past interpenetrates the present." - St. James Guide to Crime & Mystery Writers, p. 47. A fine copy in a near fine dust jacket, mild rubbing to corners and spine ends, tiny chip to upper right corner, mild age darkening to white lettering on spine panel. Scarce in this condition. (10975) [Attributes: First Edition; Hard Cover]

      [Bookseller: John W. Knott, Jr, Bookseller, ABAA/ILAB]
 38.   Check availability:     AbeBooks     Link/Print  


        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. 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. . Catalogs: theology.

      [Bookseller: Island Books [formerly of Devon]]
 39.   Check availability:     Biblio     Link/Print  


        World War II Japanese Chichi Jima War Crimes Archive - - Beheadings & Cannibalism

      United States Pacific Fleet: Commander Marianas, Guam 1946 - This is a collection of official documents from the War Crimes Trial of Lieutenant General Yoshio Tachibana, Vice Admiral Kunzio Mori, and twelve subordinates which was convened in August of 1946 at Headquarters, Commander Marianas by Rear Admiral C. A. Pownall. The Japanese officers and men were all accused of summarily executing eight of nine U.S. Navy aviators who were shot down over the island of Chichi Jima. After the senior Japanese army officer on the island, General Tachibana, declared that all of the men would be executed "to boost the fighting morale of the Japanese troops" the eight captured aviators were publicly bayoneted, beat to death with clubs, and/or beheaded. Following their death, two Japanese surgeons cut out the livers of four of the men and also removed parts of their thighs. These were presented to one of Tachibana's staff officers, Major Matoba, who had the livers grilled and the thighs made into sukiyaki as a meal to enrich the martial spirit of the island's leadership. After Japan's unconditional surrender, American forces occupied the island and were surprised to find no prisoners of war. Although the Japanese leadership initially attempted to hide the atrocity, many witnesses provided the truth and some of the perpetrators confessed. All but one of the defendants were found guilty to some degree, and three, including Tachiban and Matoba, were executed by hanging. Oh, the ninth downed aviator, the one who escaped, was George Herbert Walker Bush. His parachute landed off-shore and he managed to out-paddle pursuing Japanese in his inflatable survival raft until he was fortunately rescued by an American submarine, the USS Finback. The archive contains over 150 pages of mimeographed text that describes the grisly atrocities in detail. It includes 1) A summary sheet identifying all participants in the trial and showing their locations within the court room, 2) The convening document titled "Charges and Specifications - in the case of Lieutenant General Tachibana . . . [and all of the other defendents" 3) Two Arguments for the Prosecution by Lieutenants Field and Suss, 4) Six Arguments for the Accused by Commander Carlson, Lieutenant Commander Dickey, Mr. Ijichi, Mr. Toda, Mr. Ito, and Mr. Morikawa, and 5) An original court-room pencil sketch of Tachibana by "Hughes." For more information, see Sorties into Hell: The Hidden War on Chichi Jima by Chester G. Hearn and Flyboys: a True Story of Courage by James Bradley. These documents come from the estate of one of the court reporters who saved them after the trial.

      [Bookseller: Read'Em Again Books, ABAA]
 40.   Check availability:     AbeBooks     Link/Print  


        Matthew Flinders' Narrative of His Voyage in the Schooner Francis, 1798. Preceded and Followed by Notes on Flinders, Bass, the Wreck of Sidney Cove, &c, by Geoffrey Rawson with engravings by John Buckland Wright. (Deluxe Edition).

      Londen, Golden Cockerel Press, 1946. 31 x 19 cm. Original full morocco (Sangorski & Sutcliffe). (4), 104 p. Top gilt. Printed in 750 numbered copies on green-grey Arnold's mould-made paper with Bembo type, Centaur initials (Bruce Rogers), and Lyons capitals (Louis Perrin). Wood engravings printed in green. With a map of South-East Australia and Tasmania. First edition. Spine a bit discolored. The faintest of wear on edge tops of the spine. Some offsetting from the leather to the margins of the endpapers. Bookplate of W. & P.J. Kupfer.* This is one of 100 numbered deluxe copies bound by Sangorski & Sutcliffe in full green morocco tooled in gold, decorated on upper and lower cover with two ships, designed by Buckland-Wright, gilt lines on the inside and decorations on the edges. An absolutely beautiful book! Reid A45a.

      [Bookseller: Antiquariaat Fokas HOLTHUIS]
 41.   Check availability:     NVvA     Link/Print  


        HISTORIA DEL NOBLE Y VENTUROSO CABALLERO PIERRES hijo del Conde de Provenza y de la Gentil Doncella Magalona hija del Rey de Nápoles.

      Imp. Horta. Barcelona, 1946 - . 34 cm. 143-IV pág. Texto en orla. Ilustr. con cabeceras y viñetas grabados y coloreados a mano, y un original inédito de d'Ivori. Tirada de cinco ejemplares en papel de hilo Guarro, pintados a mano a todo color y oro, y con un original inédito, marcados A. B. C. D. E. y firmados por el artista (ej. A). En rama, presentado en caja. Bibliofília. Literatura provenzal. Bibliofília Libros modernos a partir de 1830 español

      [Bookseller: Libreria anticuaria Farré]
 42.   Check availability:     IberLibro     Link/Print  

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