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


      Duell Sloan and Pearce NY: Duell, Sloan and Pearce, 1946. First edition. Weegee. 8vo., unpaged, numerous b&w photographs. Light wear to the cloth, and occasional faint foxing, primarily on the blank endpapers. A very good copy. Signed and inscribed " For the Bennington girls, Weegee, 1947".

      [Bookseller: Andrew Cahan: Bookseller, Ltd ]
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      1946. KELLER, Helen. HELEN KELLER TYPED LETTER, SIGNED, 1946 ON PERSONAL LETTERHEAD. 1 folded 8 1/2 x 11" sheet, Helen Keller's personal stationery, addressed (with original stamped envelope) to a Mr. Bachand of Worcester, Massachusetts, and dated November 30, 1946. The letter, which is an entreaty for financial support for the newly formed Committee on the Deaf-Blind of the American Foundation for the Blind, refers to Mr. Bachand as "dear friend," and is signed in ink in Keller's hand. At the time, Keller had been working for the AFB for twenty years (as she reiterartes in the letter). The letter's eloquent appeal contains descriptions of the experience of being without sight or hearing. Note the following paragraph: "All your pleasure would vanish in a dreadful monotony of silent days. Even work, man's Divine heritage -- work that can bind up broken hearts -- would be lost to you. Family and friends might surround you with love, but consolation alone cannot restore usefulness, or bring release from that hardest prison -- a tomb of the mind and a dungeon of the body." The letter is creased but not terribly so. A small two-color brochure (not in Braille) soliciting funds is included, with the Board of Trustees of the Committee printed on the back.

      [Bookseller: Boston Book Company ]
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        Sleepers Awake

      Padell / Kenneth Patchen (New York: Padell / Kenneth Patchen. 1946). First. First edition, black paper edition. A few small tape shadows on the boards from an old glassine protector, else near fine in white buckram without dustwrapper. Numbered and Signed by Patchen on a black label at the rear, as one of 148 copies of the "black label edition." 75 of the copies of this edition were bound in white buckram, with an original painting by the author tipped on to the front board. The additional 73 undecorated copies of the edition were bound in red buckram. This copy is a variant issue, although bound in white buckram, there is no evidence that it ever bore a painting. This is copy number 4. An attractive copy of a rare, if bibliographically confusing issue. Morgan A11a (an apparently unrecorded variant). .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Heart's Home

      Arcadia House New York: Arcadia House. 1946. First. First edition. Fine in near fine, price-clipped dustwrapper with very light wear. The world of a widower's daughter is thrown into an uproar when her father plans to remarry and she falls for the owner of a pet farm. The Georgia-born Peggy Gaddis Dern wrote under both the names Peggy Gaddis and Peggy Dern. This copy Inscribed by the author to her sister and brother-in-law: "To Goldie & Alfred, with my love, Peggy." A nice association in an attractive copy. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        ZERO AND THE ASYLUM IN THE SNOW. Two Excursions Into Reality

      Rhodes:: Privately Printed, 1946 First Edition of these two surrealist short stories, a Durrellian exploration of madness and its kinship to the creative process, in the original pictorial wrappers. 8vo. 38 pp. Reputedly printed at the Government Printing Office in Rhodes, in a small edition of as few as 25 copies. A trifle sunned at the extremities, otherwise a fine copy of a Durrell rarity. [From a comprehensive TBCL Durrell collection of first editions in superb condition]. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        A Collection of Fourteen Scripts and Associated Documents for THE PARADINE CASE

      Culver City: Vanguard Films Inc. / Selznick International 25 March 1946 through 30 April 1961. [Culver City]: Vanguard Films, Inc. / Selznick International, 25 March 1946 through 30 April 1961.. Fourteen volumes / items. Quarto and folio. Mimeographed and spirit- duplicated typescripts, printed on rectos only. Bradbound or stapled in stencil printed wrappers, or stapled in self-wrappers. A few items a bit used (as noted below), but generally very good to fine. A substantial archive of scripts and technical documents tracing the long and troubled history of this film adaptation of Hichens's 1933 novel. According to one source, Selznick had acquired the film rights to the novel prior to its publication, but submission of a preliminary script in 1934 to the Breen Office resulted in assurances that it would not pass muster according to the PCA. So the project was shelved for over a decade. This archive records much of that evolution, and consists of the following: a) Unspecified draft of a October 1934 screenplay by Lewis Waller, 124 leaves (rerun by Vanguard 25 March 1946); b) an unspecified draft of a February 1942 screenplay prepared for MGM, written by Salka Viertel and Polly James, 124 leaves plus lettered inserts (rerun by Vanguard 1 April 1946), creased bruise at middle brad to early leaves ; c) a wholly new script, denoted a "First Rough Draft (With Dialogue from Novel)" by Alfred Hitchcock and Alma Reville, April 1946, 195 leaves (rerun by Vanguard 12 August 1946); d) a roster of "Costumes Compiled from the Novel," 10 leaves, 17 April 1946; e) a "Description of Settings and Props Compiled from the Novel," [2],7 leaves, 17 April 1946; f) a "Gay Comparison" compiled by Alice Hartman, 23 Sept. 1946 - a comparison of the script and the novel of the scenes involving the character Gay Keane; g) a "Third Draft Script," credited to James Birdie, based on an adaptation by Alma Reville, 205 leaves, 10 August 1946; h) the "Final Shooting Script," credited to David O. Selznick, based on Reville's adaptation, [3],154 leaves, dated December 1946, small snag in fore-edge of upper wrapper; i) a preliminary Dialogue Continuity, foliated in reel format, 12 June 1947; j) a Dialogue Cutting Continuity, foliated in reel format, dated 19 February 1948; k) a Dialogue Cutting Continuity for the Trailer, 5 leaves, 27 February 1948; l) a large folio Trailer Spotting List, 5 leaves, somewhat ragged; m) a large folio, minutely detailed complete continuity, with corrections, dated March 1948, compiled by S. G. Samuels, outer leaves a bit ragged; and finally, n) a late, 30 April 1961 Combined 16mm Continuity script. Final screen credit for the screenplay fell to Selznick, and neither Hecht's nor Birdie's contributions were credited. Hitchcock directed, and Gregory Peck, Ann Todd, Charles Laughton, Ethel Barrymore (in a role that earned an Oscar nomination) and Louis Jourdan starred, among others, and a 29 December 1947 premiere brought to a conclusion the long and tangled series of attempts to bring Hichens' novel to the screen.

      [Bookseller: William Reese Company - Literature ABAA-]
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      Culver City: Selznick International Pictures December 1946. [Culver City]: Selznick International Pictures, December 1946.. [3],154 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in deep yellow stencil printed wrappers. Wrappers a trace dust smudged, small script number on upper wrapper, else near fine. Copy #26 of the "Final Shooting Script" of this adaptation to the screen of Hichens' 1933 novel. Selznick had acquired the film rights to the novel prior to its publication, but submission of a preliminary script in 1934 to the Breen Office resulted in assurances that it would not pass muster according to the PCA. So the project was shelved until Selznick returned to it in 1946. It is clear that at that time, scripts from the 1934 effort, as well as from an adaptation attempted at MGM were consulted. Interim drafts of the script were written by Alfred Hitchcock and Alma Reville (First Rough Draft, April 1946) and James Birdie (Third draft, based on an adaptation by Reville) August 1946), until, finally, in December, this "Final Shooting Script" was reached, with interim uncredited contributions by Ben Hecht. This final shooting script is credited solely to David O. Selznick, but acknowledges dependence on the adaptation by Alma Reville. Final screen credit for the screenplay fell to Selznick, and neither Hecht's nor Birdie's contributions were credited. Hitchcock directed, and Gregory Peck, Ann Todd, Charles Laughton, Ethel Barrymore (in a role that earned an Oscar nomination) and Louis Jourdan starred, among others, and a 29 December 1947 premiere brought to a conclusion the long and tangled series of attempts to bring Hichens' novel to the screen. One of a finite group of duplicates from the Selznick archive, now entering the market via the Serendipity dispersal.

      [Bookseller: William Reese Company - Literature ABAA-]
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        BELFAGOR , rassegna bimestrale di varia umanità fondato da LUIGI RUSSO e ADOLFO OMODEO (Tutto il pubblicato nel periodo 1946-1961), Firenze, Vari editori, 1946

      cm,. 18 x 26, fascicoli in brossura di pagine 120 circa cadauno. Omodeo partecipò alla fondazione ma scomparve dopo pochi mesi (aprile 1946) e LUIGI RUSSO ne è stato l'anima fino alla sua morte (Pietrasanta agosto 1961) Il periodico proseguì fino agli anni 2000, ma la parte più significativa è questa che qui presentiamo. Il titolo è di chiara ispirazione machiavellica e la rivista sostenne un ruolo di opposizione al conformismo, con importanti collaboratori (Walter Binni, Norberto Bobbio, Giorgio Saitta, Gaetano Salvemini, Pietro Calamandrei, Luigi Silori, Gianfranco Contini e tanti altri. Vallecchi fu l'editore iniziale, e successivamente venne sostituito da D'Anna e poi da Olskj. Presentiamo le annate complete (sei fascicoli per annata) dal 15 gennaio 1946 alla fine del 1961, cioè tutto il periodo di LUIGI RUSSO. totale 13 annate a fascicoli sciolti in ottime condizioni. La raccolta viene offerta a

      [Bookseller: Libreria e Rivisteria Ferraguti]
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        Dutch corantos 1618-1650. A bibliography illustrated with 334 facsimile reproductions of corantos printed 1618-1625 and an introductory essay on 17th century stop press news.

      Göteborg, 1946. 87,(2,1 blank,1,1 blank,1) s. & 153 plr, delvis dubbelsidiga. Delvis tryckt i rött och svart. Elegant mörkrött halvmarokängbd med upphöjda bind och rikt guldornerad rygg samt övre guldsnitt, övriga snitt endast putsade (Hässler). Omslaget medbundet. Ur Gustaf Bernströms bibliotek med hans handskrivna kataloglappar.. Tryckt i 375 ex. (egentligen 400 enligt Bernströms uppgift). Faksimilplanscherna framställda av Malmö ljustrycksanstalt. Med förord av S. Hallberg där det framgår att Gustaf Bernström tillhörde de ekonomiska bidragsgivarna till denna utgåva. Förlagsreklam om arbetet bifogat

      [Bookseller: Mats Rehnström]
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        Striking original photograph by the highly distinguished Armenian-born Canadian photographer Yousuf Karsh (1908-2002) depicting Weill seated at his desk, pencil in hand, with a score of Street Scene, considered to be Weill's "official portrait"

      [ca, 1946]. 252 x 203 mm. With "Kurt Weill The Playwrights' Co. Photo by Karsh late 1940's" in pencil to verso along with other annotations. Very slightly worn; corners slightly creased; small stain to blank lower margin not affecting image. . Weill, born in Dessau, Germany, became an American citizen in 1943. "He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant-garde theatre composer of the Weimar Republic...". David Drew and J. Bradford Robinson in Grove online "By far the most widely reproduced of all Weill photographs, it shows him seated at his Brook House desk, immaculately dressed and freshly coiffured, with chin thrust forward as in no other photograph, and pen poised over a page that could almost be a balance-sheet but reveals itself, in the better reproductions, as a page from the rehearsal score of Street Scene. There is no remotely comparable picture, and yet it is impossible to imagine one better suited to the purposes of documenting the 'image and understanding' of 'Weill in America' that has been so vigorously promoted by Brecht scholars in recent years - the image, that is, of one who was at home on Broadway but would have been equally so in the boardrooms of Wall Street or Madison Avenue... The imposture becomes 'genuine' through Weill's endorsement of its impersonal conformity in preference to the introspective and enigmatic figure portrayed not only by Hoyningen-Huene but also, with uncharacteristic insight, by Karsh himself in a second, and quite unknown, portrait taken at the same session in Brook House." David Drew: Kurt Weill, pp. 44-45. Street Scene, an opera in two acts by Kurt Weill to a libretto by Elmer Rice after his own play, with lyrics by Langston Hughes and Rice, premiered in Philadelphia at the Shubert Theatre on December 16, 1946. The work opened in New York at the Adelphi Theatre on January 9, 1947 and ran for 148 performances through May 17, 1947. The present photograph was presumably used in association with the New York premiere. "Weill considered Street Scene his chef d’oeuvre... [His] musical concern was less with originality than with authenticity. The cloying sentimentality is a function of the drama. It also demonstrates how Weill adjusted his musical voice as the drama demanded. Street Scene contains European elements, including allusions to Puccini, even to Wagner. The drama demanded them, too. The description ‘American opera’ nonetheless applies: it is an opera for America – that is, for a Broadway public; and it is an opera about America, both musically and in terms of plot." Stephen Hinton in Grove online

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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      1946. 1. MILITARY INTEREST. HISTOIRE DE JEAN-MARIE LE FRANCOIS laboureur et soldat du Roi. Paris: Tolmer (1946). 8vo, pictorial boards, near fine. The story was handed down through generations and finally came into print with this volume by Tolmer. Charming folk-peasant style color illustrations are by Russian born artist Serge Wischnevsky, bringing to life country and military life in the mid sixteenth century. Printed on thick card pages the color illustrations are so vibrant they seem to be hand done.

      [Bookseller: Aleph-Bet Books, Inc. ]
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      Boston: Houghton Mifflin Company, 1946 McCullers, Carson. THE MEMBER OF THE WEDDING. Boston: Houghton Mifflin Company, 1946. Presentation Copy. First Edition, 8vo., 195pp. A very good copy in golden yellow cloth lettered in black & showing some moderate general use in a near fine or better, very bright supplied dust jacket with a bit of conservation at the spine extremities. Inscribed on the front free endpaper in black fountain pen: "For Howard / with love / Carson". From the estate of Howard Doughty, acclaimed literary critic & scholar, Harvard College. McCullers adapted this novel into a play that opened on Broadway with Julie Harris & Ethel Waters & won numerous awards. Waters & Harris then recreated their Broadway roles in the 1952 Fred Zinneman film, with Harris nominated for a Best Actress Oscar. [27074] $3850. Signed by Author. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        Bei Durchsicht meiner Bücher... Eine Auswahl aus vier Versbänden.

      1st edit. Stuttgart, Hamburg: Rowohlt 1946. 184 p. Publisher's pictorial boards. Binding slightly marked of use.. Inscribed copy dated july 46

      [Bookseller: Peter Grosell's Antikvariat]
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        The Member of the Wedding

      Houghton Mifflin Co New York: Houghton Mifflin Co, 1946. Hard Cover. First Edition. SIGNED and INSCRIBED by the author on the front free end paper ÒTo Larry and Muriel from Carson McCullersÓ [undated]. It is uncommon to find inscribed copies of this book. Very good minus in yellow cloth with black title to spine and front cover. Dampstaining to top corner of boards and spine. None of the interior pages are affected. Fraying to foot of spine and bottom edge of front board. There are also a few small smudge marks on the front cover. Previous owner signature on front pastedown and occasional light spots of foxing, else clean. In an orange and olive green dust jacket with black title to the spine and front panel. The jacket has a few chips along the edges, a few closed tears, a few creases, and light soiling to the spine panel. It is also dampstained along the edges of both flaps. The interiors of the flaps are a bit rubbed, possibly from glue that has since been removed. 195 pages. LIT/050911. Very good minus in very good minus dust jacket.

      [Bookseller: The Kelmscott Bookshop ]
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      Los Angeles: Universal Pictures 14 January 1946. [Los Angeles: Universal Pictures], 14 January 1946.. [1],18,20,15,16,17,20 leaves, paginated by reel. Quarto. Mimeographed typescript, printed on rectos only. Punched at top and bradbound. Occasional slight creases or marginal fraying, title leaf chipped around brads, and with creased tear in right margin; generally very good. A post- production continuity script of this important adaptation of the Holmes/Watson characters to the screen. The screenplay was written by novelist Frank Gruber, and was his sixth credited screenplay. The film, directed by Roy William Neill, starred Basil Rathbone and Nigel Bruce, and was the penultimate film in the sequence of twelve Universal films in which the duo set high marks for their portrayal of Holmes and Watson. DE WAAL 5158.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Typed Letter on 82nd Airborne Division Letterhead Dated 20 February 1946

      Fort Bragg, North Carolina, 1946. Exceptionally nice autographed letter from General Gavin shortly after World War II (while he was still the Commanding General of the 82 Airborne Division) forwarding a division patch and airborne tab. The patch, tab, and free-franked envelope are included. The letter is clean with a dark signature; the envelope has almost no wear; and the patch and tab are in mint condition. "Jumpin' Jim" Gavin developed American airborne doctrine, tactics, and techniques from scratch in 1941. As a regimental commander in 1943, he led the first ever American airborne assault during Operation Husky when his unit jumped into Sicily. By 1944, he was the 82d's Assistant Division Commander and led the division's three airborne regiments during their famous D-Day jump into Normandy. Later that year he became the youngest Division Commander during the war and led the 82d during its airborne assault that captured the Waal River bridge at Nijmegen during Market Garden. He was portrayed by Robert Ryan in the movie, The Longest Day, and by Ryan O'Neal in the movie, A Bridge Too Far. . Letter. Near Fine.

      [Bookseller: Read'Em Again Books]
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      1946. [SKETCH TOUR GENRE] NAKAZAWA Hiromitsu, artist. SAIGOKU SAN-JU^-SAN-SHO JUNREI EMAKI. Kyoto, Kanao Bun'endo^, publisher. Sho^wa 21 [1946]. Oblong folio of o^ban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The blocks were cut by Okada Seijiro^ and the printers were Nishimura Kumakichi and Takagi Kiyomitsu. This portfolio project was initially completed and printed in 1925. This edition, printed from the same blocks at the very end of Kanao's life, was obviously issued as a companion piece to the THIRTY-SIX VIEWS OF OSAKA, which Kanao also published in 1946. The colors of the original 1925 edition were quite a bit more light and "crumbly" than the bolder colors used in this printing, which accord with that used in the Osaka series. (I personally like this bolder approach to Hiromitsu's work.) There are eleven color woodblock printed preliminary pages, a table of contents page, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the pilgrimage sites, (in Japanese). A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre. A set in very nice condition, bound into the original printed covers (approx. 25 x 36.7 cm). Complete, in a tied chemise case.

      [Bookseller: Boston Book Company ]
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        L'ARCHITECTURE FRANCAISE. Architecture - Urbanisme - Décoration. Revue mensuelle. Directeur: P.M. Durand-Souffland.

      In-4 p., 13 voll., mz. tela con ang., tit. oro su tassello al dorso. Di questa rivista mensile illustrata (foto e disegni, piante, sezioni, ecc.) offriamo una raccolta completa, dal n. 58/59, mai-juin 1946 (Anno VII), al n. 203/204, aout 1959 (Anno XIX). Mancano le copp. di ciascun fascicolo, ma sono presenti tutti gli Indici. A partire dal n. 145/146 compare l'interessante rubrica "L'architecture dans le monde". Nel I vol. sono stati inseriti numeri sciolti di annate diverse: n. 25 (nov. 1942), n. 27 (genn. 1943), nn. 41 e 43 (marzo e maggio 1944). Esempl. ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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      London. 28 December 1946. London. 28 December 1946.. One page, on quarto sheet of letterhead. Signed in ink, and with two word ms insertion. Folded for mailing, very good, in half morocco folding slipcase. Writing to David Simonoff, in Toronto, Shaw asserts: "...I cannot imagine how you could expect the Veterans Affairs Department to give you £500 and three years training to become a practitioner and propagandist of the Alexander yoga. You might as well apply for training as a spiritualist medium, a conjuror, or an acrobat." He relates the background of his own course of treatments with F.M. Alexander in 1938, as well as their success where osteopathy had produced different results, and closes with a personal observation on Alexander: "As he had lived for many years in expensive quarters in London, charging three guineas a visit, he must have convinced his patients that they benefited by his handling. I do not regret having at considerable cost, gone through with him. But as he was academically unqualified it is useless to ask a public department to class an apprenticeship to his practice as an official profession for war veterans. Faithfully, G. Bernard Shaw."

      [Bookseller: William Reese Company - Literature ABAA-]
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      London: Victor Gollancz, 1946 First Edition of the third and most popular Gervase Fen mystery. A near fine copy in blue cloth, gilt titles, in a better than very good bright, fresh dustwrapper with some light overall use and a few minor chips. Small 8vo. 151 pp. A very nice copy of this uncommon Haycraft Queen Cornerstone, particularly in dustwrapper. Keating # 36, MLC 5 Dagger Rating, Hatchard's # 25 title.. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        PATERSON. Inscribed

      New York: [1946, 1948, 1949, 1951, 1958].: New Directions, 1946 Williams, William Carlos. PATERSON. Inscribed. New York: New Directions, [1946, 1948, 1949, 1951, 1958]. Five Volumes. First Editions All. This set unique of this landmark work as the first volume is nicely inscribed in an early hand on the front free endpaper: "Bob MacGuffie - Hopefully / William Carlos Williams". Five Octavo Volumes; mostly quite fine in like dustwrappers showing only the slightest use [Volume 4, very good, with a narrow line of damping to the wrapper spine]. All first editions in clear plastic outer wrappers which may not have been originally supplied by the publisher but are certainly contemporary. The first four books limited to only 1000 copies, the fifth to 3000. Williams' epic masterpiece. [Book III - Winner of the first ever National Book Award for Poetry - 1950]. Housed in a fine gilt-lettered custom ¼ morocco over marbled paper clamshell case. "This is [a] . . . long poem in which one of our most consciously American poets attempts to focus in extended form the poetic concepts of many years' work and growth. In the poem Dr. Williams employs the traditions and traits of an American locality - in this case around Paterson, New Jersey - in somewhat the same way as a painter uses abstract form to achieve a definitive statement." Wallace, A24, A25, A30, A34, A44. "This is the first part of a long poem in four parts--that man in himself is a city, beginning, seeking, achieving and concluding his life in ways which the various aspects of a city may embody--if imaginatively conceived--any city, all the details of which may be made to voice his most intimate convictions. Part One introduces the elemental character of the place. The Second Part will comprise the modern replicas. Three will seek a language to make them vocal, and Four, the river below the falls, will be reminiscent of episodes - all that any one man may achieve in a lifetime" - From Williams, introduction to Paterson, which became five, rather than four volumes. Connolly 100 - The Modern Movement.. Signed. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        The Inhabitants

      New York: Charles Scribner's Sons 1946 New York: Charles Scribner's Sons, 1946. First edition. 4to (11 1/4 x 9 1/4 inches). 52 full-page b/w photographs. Unpaginated. Beige blind-stamped cloth. Near fine in near fine, slightly edgeworn dust jacket. Roth 101, pp. 122-3 . Part one of Morris' groundbreaking photo-fiction trilogy depicts his native Nebraska as a depopulated world of dilapidated 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) With 2 original real photograph cards [c. 1946] laid in, entitled "Kokomo, Col-1942" and "Inhabitant-Utah" in Morris's hand beneath the image (5H. x 4G inches) with Christmas and New Year's notes to "Tony & Jamie" signed by Morris ("Wright") and wife Mary Ellen Verso of "Inhabitant-Utah" contains an autograph note signed ("Wright") to Tony. Morris compliments Tony on a recent painting and apologizes for not seeing his friend more often. Morris is glad to hear Tony enjoys THE INHABITANTS and outlines his plans for new work and maybe some travel: "I start work on a new volume this spring. Right now on a novel. This April we will ... give a buzz at your bell. See to it that you are at home!" An unusually fine copy with rare Morris images - he seldom made prints

      [Bookseller: James Cummins Bookseller ]
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        STORIA UNIVERSALE (11 TOMI IN 5 VOLUMI) opera completa, Torino, U.T.E.T., 1946

      19,5 x 26,54, ril. editoriale cartonata t.t. bleu con titoli in oro sui piatti ed ai dorsi, qualche macchiolina ma buone condizioni generali. Importante opera storica completa ricchissima di documentazione e di illustrazioni e foto di qualità VOLUME I Tomo 1 - "Preistoria, Oriente e Grecia" pp.,572, con 10 tav. 19 cartine e 225 figure nel testo VOLUME II parte 1* I - "Roma antica dalle origini alla fine della Repubblica" pp. 851 335 figure nel testo , 8 tavole e 2 carte storico-geografiche parte 2* "Roma antica - L'Impero" pp. 940 500 figure nel testo + 14 tavole e 1 carta storico-geografica VOLUME III parte 1* "Il medioevo" 476- sec. XI- pp.467 364 figure nel testo - 4 tavole e 20 cartine storico-geograf. parte 2* "Il Medioevo - sec .XI-1454 pp.,1218 462 figure nel testo, 8 tavole e 20 cartine storico-.geograf. VOLUME IV Parte 1* "Età rinascenza e della riforma!" pp.672 con 7 tavole e 480 figure nel testo. Parte 2* "Controriforma e prerivoluzione" (1556-1699) pp.688. 374 figure nel testo e 11 tavole VOLUME V parte 1* "Riforme e rivoluzione" (1699-1799) pp.794 455 figure nel testo, 11 tavole e 13 cartine geografiche parte 2* "Dall'età napoleonica alla fine della 1a guerra mondiale" pp.896 571 figure nel testo + 14 tavole e 38 cartine geografiche parte 3* "Dalla fine della 1a guerra allo scoppio della seconda" pp.361 (1919-1939) 280 figure nel testo e 12 tavole parte 4* "La sec. guerra ed i nuovi problemi del mondo" pp.644 461 figure nel testo e 12 tavole L'importante opera completa in 11 volumi, viene offerta a

      [Bookseller: Libreria e Rivisteria Ferraguti]
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        One Man in His Time

      Pendulum Publications Limited, U.K., 1946. First Edition. Binding: Hardcover. Book Condition: Good. Dust Jacket Condition: No Jacket. 158 pages, size 7.25 inches tall by 4.75 inches. Now famed for his 'pulp fiction', Stephen Daniel Frances, launched Pendulum Publication as WWII was ending. Pendulum then published this, his first novel, semi-autobiographical it did not sell well. For some reason his name is spelt 'Francis' on the front board but correctly 'Francis' on the title page. With the failure of this to sell and two other novels unpublished Francis took advice and changed genre. American 'hard-boiled' crime fiction was selling well and Francis wrote and sold 'When Dames Get Tough' in 1946, using the pen-name of 'Hank Janson' who also featured in the story. And so 'Hank Janson' was introduced to an enthusiastic book buying public. Book - [SEE SCAN] - in Near Very Good brown boards with black lettering - some marking to the front board and marking to the back board although this probably happened when the book was originally bound, light bumping and wearing to the extreme corners and extreme ends of the spine. Contents, light marking to the pastedowns and front and rear free endpaper otherwise clean, bright and tightly bound. A Rare and Highly Collectable Title for any Janson completist. Quantity Available: 1. Shipped Weight: Under 250 grams. Category: Fiction; Inventory No: 004687.

      [Bookseller: John T. & Pearl Lewis]
 24.   Check availability:     UKBookworld     Link/Print  

        Typed Letter, signed ("Dick"), to Polan Banks

      Boston Massachusetts may 14 1946 Boston, Massachusetts, may 14, 1946. 4to. 2 pp. on Naval Department / Office of the Chief of Naval Operations" letterhead. With envelope. Fine, in red custom morocco-backed folding box . During World War II Captain Banks served as chief of the War Department's stage and screen section.

      [Bookseller: James Cummins Bookseller ]
 25.   Check availability:     ABAA     Link/Print  

        Miracle de la Rose

      L'Arbalète, Paris, 1946. First Edition. Hardcover (Original Cloth). Near Fine Condition. Number 370 of 475 in beige cloth on Rives - light wear, faint soiling to boards - internally bright and largely uncut. The first edition of one of Genet's central works - along with Thief's Journal and the great short film Un Chant d'Amour,, it exemplifies the qualities most unique and magnetic about Genet - the inversion of ideals, the transcendence of the sordid. An attractive example. Size: Octavo (8vo). Text is clean and unmarked. Quantity Available: 1. Shipped Weight: 2-3 kilos. Inventory No: 041346. .

      [Bookseller: Pazzo Books]
 26.   Check availability:     IOBABooks     Link/Print  

        Degas Et Son Oeuvre

      Arts et Metiers Graphiques Paris: Arts et Metiers Graphiques, 1946. First edition. Boards. Orig. blue gray boards in matching portfolios. Fine in near fine slipcases, one slightly chipped and bruised. 4 vols./No Dust Jacket. Degas, Edgar. 4to, 33 x 25 cm. More than 1500 illustrations, plus photos and two facsimile pages. Comprehensive Catalogue Raisonne, the standard work on Degas. Limited edition, copy 665 of 980. The first volume presents biographical data, and critical reviews. Volumes 2-3 are annotated catalogues of his oeuvre, a total of 1466 works. The last volume, "Tables," printed in red and black is a compilation of indices covering subject themes and illustrations. Internally very fresh, clean and bright. Ex-library with stamps inside front, rear covers, and top edges. FREITAG 2165.

      [Bookseller: Royoung bookseller, Inc. ]
 27.   Check availability:     ABAA     Link/Print  

        Shikashu^ Anthology of Contemporary Japan NIHON NO HANA FLOWERS OF JAP

      1946. Good. ONCHI Koshiro. Shikashu Anthology of Contemporary Japan NIHON NO HANA FLOWERS OF JAPAN. Tokyo: Hongakusha, Showa 21 [1946]. Another Hongakusha work, this one is edited by Onchi Koshiro, and many of the lovely woodcut textual illustrations are by him as well. Other artists include the important Creative Print movement figures Kawakami Sumio, Kawanishi Hide and Maekawa Sempan. The poets include Sato Haruo, Kitahara Hyakushu and Onchi, himself. A tour-de-force and important work, good in the original woodcut printed wrapper (by Onchi).

      [Bookseller: Boston Book Company ]
 28.   Check availability:     ABAA     Link/Print  

        The Artificial Kidney (Signed)

      Kampen, Holland: J.H. Kok, 1946. First edition. Paperback. Very Good. Softcover in original wrappers. 8vo. Special limited edition volume prepared for the private use of the author for distribution to his friends and colleagues. This copy SIGNED by Kolff in New York City to a fellow doctor, then at Mt. Sinai Hospital in New York, later in private practice in Beverly Hills. Signature begins on paste-down wrapper and runs over onto title page. Slight damage to very top of spine, and some light mottling to front wrap. Book is otherwise crisp and clean, with many photos, diagrams, and one folding plate. Kolff has been dubbed the Father of Artificial Organs and is regarded as one of the luminaries of twentieth-century medicine. Scarce. 92 pp.

      [Bookseller: Warwick Books]
 29.   Check availability:     IOBABooks     Link/Print  

        Matthew Flinders' narrative of his voyage in the schooner Francis: 1798 preceded and followed by notes on Flinders, Bass, the wreck of the Sidney Cove, &c., by Geoffrey Rawson with engravings by John Buckland-Wright

      [London]. 1946. Edition limited to 750 copies, folio, pp. 100-[102]; full-p. map, frontispiece, title vignette, and 6 handsome wood-engravings printed in green; previous owner's bookplate, else fine in orig. green cloth stamped in gilt, t.e.g. "This is another book of daring exploration in our Sea Series. I tried to produce these stories of high adventure in an exciting way, and planned to make the book a symphony in green. I even thought of scenting the paper with seaweed, and imagined clients commenting to each other: Strange thing about this book - it seems to bring a breath of the sea! The idea was humorously reported by my friend Robert Harling in Alphabet and Image, and I now hear that some advertisers are using my idea by scenting their paper suitably to obtain particular effects. The printing of John Buckland-Wright's magnificent engravings in green ink on gray-green paper was not entirely successful, as it diminished the essential brilliance obtained only by a contrast of full blacks on whites"" (Christopher Sandford, the printer, in Cockalorum, Bibliography of the Golden Cockerel Press, 170).

      [Bookseller: Rulon-Miller Books ]
 30.   Check availability:     ABAA     Link/Print  

        The Last Chapter of Urne Buriall

      Rampant Lions Press, Cambridge: Will Carter, 1946 In yellow paper wraps with image and title in black, yellow and white, very light dirt marks to cover edges, some speckled red marks to rear cover 1" square. Internally NO inscriptions etc, not paginated. Limited edition of 175 of which 125 were for sale, cover and title page designs by John Piper. Very Rare!

      [Bookseller: Madoc Books]
 31.   Check availability:     IOBABooks     Link/Print  

        Kan vi være dette bekendt?

      1. oplag. Gennemillustreret med fotografier af Bror Bernild og Jørgen Roos. København 1946. 172 sider. Omslaget med brugssor.. Parr & Badger II, 242.Vedlagt et originalt fotografi af Bror Bernild, hvoraf kun et udsnit blev brugt i bogen (side 98). Billedet er taget i Rosengaarden i Randers i 1946 jvf. vedlagt signeret brev (udateret, men af senere dato) fra Bror Bernild til Ole Roos, søn af Karl Roos. Bag på fotografiet er tilføjet med blyant "Neg Nr. 25 BB"

      [Bookseller: Mandøes Antikvariat]
 32.   Check availability:     Antikvariat     Link/Print  

        The Lady in the Lake

      Hamish Hamilton London and Melbourne: Hamish Hamilton. (1946). First. First Australian edition. Page edges browned, some offsetting from the jacket on the front board, else about fine in a very attractive, very good plus dustwrapper with a couple of small chips at the folds, some slight tanning of the spine lettering, and a tiny chip at the foot. Presumably issued in very small numbers, the author's exceptionally scarce fourth novel. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 33.   Check availability:     ABAA     Link/Print  

        Archive of an Antarctic Rescue - Operation High Jump - Which Includes Primary Source Unpublished Manuscript Journal and Original Photographs. Together with ephemera Pertaining to the Antarctic Expedition

      Chronicling with precision and intensity the locate and rescue mission of US bomber 'George One' and her six survivors, this is the archive of an astute naval officer who was part of Task Force 63 on the USS Brownson DD-868, in conjunction with Task Force 68 for Operation Highjump, of Rear Admiral Byrd's Fourth Antarctic Expedition Antarctic Expedition Archive, 1946-1947. 8vo. Manuscript diary, over 100 pages, and a hand drawn coloured map within text, entries dating from 2 December 1946 to 10 March 1947, relating to rescue efforts to find George One. The diary's author, naval officer James G. Snyder, is identified by his accompanying naval aviator certificate and identification. Red cloth gilt-lettered diary, with Operation Highjump stamp to title page, ink spot to front board, otherwise very good condition. Together with 39 original photographs, several with manuscript captions, all taken by the officer while on the USS Brownson DD-868 in Antarctic waters, showing the crew performing rescue work, the vessel itself, and rare views of south polar islands. Together with ephemera pertaining to the Antarctic expedition, including two unofficial naval certificates, one of which is signed by Byrd, both produced onboard in teletype print; two nautical charts printed onboard the USS Brownson DD-868 which do not have a termination date as the expedition was currently underway; and a typed briefing dispatched over two consecutive days 12 & 13 January 1946 from the USS Brownson DD-868 which outlines the rescue of the six survivors of the US navy bomber 'George One' missing since 30 December 1946. 'Operation Highjump' led by Rear Admiral Byrd was the largest Antarctic expedition to date. All items in this archive were written, photographed, printed, and present in Antarctica on USS Brownson DD868, which crossed the Antarctic Circle 76 times during the expedition. The armada arrived in the Ross Sea on December 31, 1946, and made aerial explorations of an area half the size of the United States, recording ten new mountain ranges. The major area covered was the eastern coastline of Antarctica from 150 degrees east to the Greenwich meridian. Original Photographs: The participating units of Eastern Group (Task Group 68.3) include Seaplane Tender USS Pine Island, Tanker USS Canisteo, and of course Destroyer USS Brownson, all of which are seen here. Furthermore, USS Philippine Sea, on which Rear Admiral Byrd was boarded for a time. Thirty-nine images of the rescue expedition, a scarce find, USS Brownson DD-868 is prominent in this visual record, ploughing through packice, also on approach to Alexander I Island, Rothschild Island, Charcot Island, and in the Ross Sea alongside the USS Philippine Sea transferring provisions. The vessel is also shown in rough waves, receiving fuel from the fleet oiler USS Canisteo, and taking on two survivors, co-pilot William Kearns and Lieutenant Blanc of the PBM Mariner George 1, thirteen days after having crashed in a blizzard. A view of USS Pine Island (AV-12) highlights her helicopter pad while a distant view serves to illustrate planes launching from it. Icebergs of unique formation are also photographed, as is one which is the recipient of a projectile explosion from the ship. Black and white photographs, varying slightly in size, hand trimmed, measuring approximately 4 x 5 inches, with exception of one smaller photographer circa 3 x 3 inches. Maps: Two confidential nautical charts printed on photographic paper, one titled 'Operation Highjump Overall Track Chart', the other 'U.S.S. Brownson DD-868 Phase Chart No.4 Cored from Antarctic Polar Chart.' Each measures 8 x 10 inches, date stamped 24 March 1947 to verso. Both also stamped 'Confidential, etc.' by order of the Chief of the Bureau of Aeronautics. "Briefing Reports Mariner George 1": A typed dispatch over two consecutive days 12, 13 January 1946 from the USS Brownson DD-868 which outlines the rescue of the six survivors of the US navy bomber 'George One' missing since 30 December 1946. Folio. 6 pages typed on 3 single leafs. Officer's Identification: In the original gilt tooled leather pocket folder is found three important US Navy documents, Snyder's identification card with portrait photograph, his Pilot's Clearance Card, issued at Corry Field in Florida and signed by Commander G.G. Price, 13 October 1949, and, finally, his Naval Aviator Appointment Certificate, issued 14 October 1949, signed by Chief of Naval Air Training, J.W. Reeves Jr. All three produced after the Byrd expedition when the officer became a US Navy pilot. Expedition Ephemera: Two navy ceremonial certificates, informal but nonetheless significant to marine men, and worthy of Captain's signatures. On this voyage, Snyder is presented with two such commemorative documents. 'Order of the Penguin' certificate, signed in the original by Commander Harry M.S. Gimber Jr., and Rear Admiral Byrd himself. These were given when crew members of Operation Highjump when they crossed the Antarctic Circle into "the Domain of the Penguins" 'Brotherhood of the Horned Shellbacks', issued after rounding Cape Horn, dated 17 February 1947, also signed by Gimber. Both measure 8 x 10 inches, with original signatures; one is in color. Manuscript diary: The very young naval officer, only 21 at the time of departure, was somehow privileged to partake in this celebrated Antarctic expedition. In his private journal he documents the grand adventure and important events, including the rescue of the six survivors of George One Navy Patrol. A very legible, thorough, pleasing account enhanced by a sketch map of the rescue vessels at the crash site. .

      [Bookseller: Voyager Press Rare Books & Manuscripts, ]
 34.   Check availability:     Biblio     Link/Print  

        PEINTURES ET DESSINS. Avec un avant-propos et des Légendes Extraites de L'oeuvre poetique de L'Auteur..

      Point du Jour, Paris, 1946. In French. 12+43+6 pages. Cased boards with slip-case. Richly illustrated. A fine copy. Numbered 586/900

      [Bookseller: Jones Antikvariat]
 35.   Check availability:     Antikvariat     Link/Print  


      London. 28 December 1946.. One page, on quarto sheet of letterhead. Signed in ink, and with two word ms insertion. Folded for mailing, very good, in half morocco folding slipcase. Writing to David Simonoff, in Toronto, Shaw asserts: "...I cannot imagine how you could expect the Veterans Affairs Department to give you £500 and three years training to become a practitioner and propagandist of the Alexander yoga. You might as well apply for training as a spiritualist medium, a conjuror, or an acrobat." He relates the background of his own course of treatments with F.M. Alexander in 1938, as well as their success where osteopathy had produced different results, and closes with a personal observation on Alexander: "As he had lived for many years in expensive quarters in London, charging three guineas a visit, he must have convinced his patients that they benefited by his handling. I do not regret having at considerable cost, gone through with him. But as he was academically unqualified it is useless to ask a public department to class an apprenticeship to his practice as an official profession for war veterans. Faithfully, G. Bernard Shaw."

      [Bookseller: William Reese Company - Literature ABAA-]
 36.   Check availability:     Biblio     Link/Print  

        Zorba The Greek

      Athens: Plateia Syntagmatos,1946.. First edition preceding both the French and English translations, published in 1946. Octavo, original illustrated wrappers. Signed by Kanzantzakis on the copyright page. In good condition, with a chip to the spine and some wear and tear. Housed in a custom quarter morocco clamshell case. The first edition of Zorba The Greek is of legendary scarcity.

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
 37.   Check availability:     Biblio     Link/Print  


      [1946]-1969. Fair to Near Fine. Fine group of early letters from Lowell SIGNED both in full and with his familiar "Cal" as well as several later letters from his wife Elizabeth Hardwick. Includes two postcards from Lowell and two from Hardwick as well as 9 AUTOGRAPH LETTERS SIGNED (most in pencil), a TYPED LETTER SIGNED, and 2 TYPED MANUSCRIPTS by Lowell and 3 TYPED LETTERS SIGNED by Hardwick. In the earliest dated letter (5 July 1947), Lowell writes about having some poems reprinted: "The QUAKER GRAVEYARD is really seven poems, so that $50 doesn't seem very high to me." In another letter: "I didn't think for a minute that you had anything to do with Pound's exclusion.... I suppose it's the doing of that great patriot Cerf." He comments on a feud between Delmore Schwartz and Karl Shapiro. Another letter: "My best poem, I think, is a long poem called The Quaker Graveyard.... I think Jarrell, Shapiro and Schwartz are much the best of the younger American poets; MacNeice, Thomas and Empson of the English.... In Land of Unlikeness, my favorites are In Memory of Arthur Winslow, Salome and The Drunken Fisherman." Lowell elsewhere discusses his new manuscript [LORD WEARY'S CASTLE] and its composition. In one exceptional typed letter, Lowell comments on the state of modern poetry mentioning a number of specific poets: "I feel our poetry is caught between beat mush and an academic veneer." The two typed poems are "The Sleeper" and "War after Rimbaud." Many letters are scorched on the right side to varying degrees with occasional loss of text.

      [Bookseller: Charles Agvent]
 38.   Check availability:     Biblio     Link/Print  

        Les Contes du Temps Jadis Lithographies en couleurs de Madeleine Luka

      Paris: Les Editions Littéraires De France, 1946 4to (13 x 10 inches; 330 x 250mm.) Half-title, title and text printed in blue and black, the title with a colored vignette. Colored lithographic frontispiece, 72 colored lithographic illustrations and decorations, the 73 images also present in a "suite à part" printed on 69 leaves without text and bound at the back, 1 original gouache (or oil?) on paper (a version of the illustration to "La Barbe Bleue" on p.41), extra-illustrated with two hand-colored lithographs, signed in pencil by the artist (versions of an illustration to "Cendrillon" on p.73 and "Le Petit Poucet" on p.105). Contemporary green morocco, signed "Creuzevault", the upper cover with an inlaid vertical strip of pale brown calf, flanked by thinner strips of green calf, the intersections of each different leather tooled in gilt with wavy zig-zag roll tools, the onlaid green calf tooled in black with an intescecting trellis of lines forming a sémé of lozenge shapes, every alternate lozenge tooled with a centrally-placed gilt dot, the centreal light brown strip with an eloborate overall design incorporating the words "Les Contes de Perrault" tooled vertically using palladium lettering, a large rectangular trellis of onlaid green calf strips, shadowed by gilt rules and to flanking areas tooled with sémé of lozenge shapes that are smaller than those on the green calf strips, the lower cover tooled to a design which echoes the upper cover, but with a central plain green morocco strip in place of the light calf strip on the upper cover the flat spine with palladium lettering running both horizontally across the spine and vertically down, green calf pastedowns, green reversed calf free endleaves, gilt edges, original paper wrappers bound-in, calf-lined black half morocco chemise, the spine titled in palladium, matching slipcase. Limited edition of 207 examples on "velin lana des vosges", this number 1 of 10 examples with an original watercolor, and with a "suite a part" of all the illustrations . In addition to being number one of ten examples, this copy also includes two additional hand-colored signed plates, and is in a spectacular binding by one of the greatest 20th century designer of bookbindings. The other-worldly nature of Luka's images is an ideal combination with the fantasy world that Perrault's characters inhabit. The illustrator Madeleine "Luka" (1894-1989), was married to Robert Kula, but took the "nom d'artiste" "Luka" - an anagram of her husband's surname. She exhibited her work Paris, Nice, Switzerland, New York and elsewhere between 1928 and 1976, and illustrated at least four other books: Francis Jammes' Le Poets Rustique ; Eugene Fromentin's Dominique ; Pierre Moussarie's Enfantines. Poesies ; and Pierre Mourgues' Musique pour les yeux. /// PHOTOS AVAILABLE UPON REQUEST. ABSOLUTELY MARVELOUS!!! Description disponible en français sur demande.

      [Bookseller: Louis Caron]
 39.   Check availability:     Biblio     Link/Print  

        Etching from Alternance

      (N.p.: Le Gerbier, 1946). One of 340 copies. Color etching measuring 7 3/4 by 6 1/2 inches by Marie Laurencin, a contemporary of Picasso and Braque, depicting an angel with a small guitar in her lap. Although Laurencin was one of a few women artists of the time to experiment with Cubist ideas, her focus on female subjects is often viewed as a response to Cubism's masculine modernism. This etching is from the book Alternance, a collection of works by leading writers and artists after World War II that includes Jean Cocteau, Paul Eluard, and Henri Matisse. Matted and framed in an antique-style carved wooden frame by Heydenryk in New York. The whole measures 14 by 13 inches.

      [Bookseller: Bromer Booksellers]
 40.   Check availability:     Biblio     Link/Print  

        The Canterbury Tales

      New York: The Limited Editions Club, 1946. Limited ed. Cloth. Fine. SZYK, Arthur. New York: The Limited Editions Club, 1946. 550 pages, including 23 illustrations of the Canterbury pilgrims, plus frontispiece and tailpiece. Original ornate illustrated cloth binding and matching slipcase. Fine condition.& & First edition, limited to 1500 copies. This is a Rare Presentation Copy. This is one of 15 presentation copies (out of series, i.e. unnumbered) SIGNED twice by Szyk: once as “A.S.” and also “Arthur Szyk.” This is the first presentation copy of this book we have seen. & & One of Szyk's most beloved works is The Canterbury Tales by Geoffrey Chaucer. His charming illustrations of the Canterbury pilgrims—such as the Wife of Bath, the Friar, and the Lawyer—are considered some of the finest ever created. The lively modern verse, translated from Middle English by Frank Ernest Hill, was revised especially for this luxury limited edition.& & TIME magazine featured a glowing review of this edition of The Canterbury Tales in its September 9, 1946 issue.&

      [Bookseller: Historicana]
 41.   Check availability:     Biblio     Link/Print  

        JOAN OF ARC

      [Culver City]: Vanguard Films, 7 October 1946 through 11 April 1947.. Three volumes. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in stencil-printed wrappers. A few nicks and creases, otherwise very good or better. A small archive of material relating to this unproduced film project undertaken for Selznick, consisting of the following: a) copy # 12 of a preliminary draft of the opening sequences, 9 leaves; b) copy # 35 of a second draft screenplay, [1],150 leaves, dated 12 November 1946, and rerun 11 April 1947; and c) copy # 11 of an interesting background document, translated by Donald M. Frame, with the wrapper title: SELECTIONS FROM THE TRIAL OF JOAN OF ARC THE QUESTIONING ..., 10 October 1946, 135 leaves, being selections from Quicherat's 1841-9 edition of the trial transcripts. This version of the script was abandoned in deference to the 1948 adaptation from Maxwell Anderson's play produced by Sierra, distributed by RKO, and starring Ingrid Bergman (under contract to Selznick and on loan). Duplicates from the Selznick Archive.

      [Bookseller: William Reese Company - Literature ABAA-]
 42.   Check availability:     Biblio     Link/Print  


      [Los Angeles: Universal Pictures], 14 January 1946.. [1],18,20,15,16,17,20 leaves, paginated by reel. Quarto. Mimeographed typescript, printed on rectos only. Punched at top and bradbound. Occasional slight creases or marginal fraying, title leaf chipped around brads, and with creased tear in right margin; generally very good. A post- production continuity script of this important adaptation of the Holmes/Watson characters to the screen. The screenplay was written by novelist Frank Gruber, and was his sixth credited screenplay. The film, directed by Roy William Neill, starred Basil Rathbone and Nigel Bruce, and was the penultimate film in the sequence of twelve Universal films in which the duo set high marks for their portrayal of Holmes and Watson. DE WAAL 5158.

      [Bookseller: William Reese Company - Literature ABAA-]
 43.   Check availability:     Biblio     Link/Print  


      [Culver City]: RKO / Selznick, 18 July 1946.. [1],8,7,7,7,8,10,9,6,12,12 leaves, foliated in reel format. Large quarto, legal format. Mimeographed typescript, printed on rectos only. Punched and bradbound in upper margin. Some soft corner creases, otherwise near fine. A combined continuity script for Hitchcock's 1946 film, based on a screenplay by Ben Hecht, based on a story by John Taintor Foote, with uncredited contributions by Clifford Odets and Hitchcock. The cast included Cary Grant, Ingrid Bergman and Claude Rains. Hecht's script was nominated for an Oscar. This post-production script, which is a quite literal record of the film as released, predates the film's premiere by nearly a month. Duplicate from the Selznick archive.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Facts and Documents concerning Polish Prisoners of War captured by the U.S.S.R. during the 1939 Campaign

      London: Council of Ministers of the Polish Government,, 1946. Foolscap quarto. Original green cloth backed plain card wraps. xii, 454-page mimeographed typescript. 6 plates, one of them folding, 3 folding maps, folding diagram. First and only edition. Uncommon, COPAC has IWM only, OCLC records just 7 copies in North America, one in Israel. A mimeographed sheet loosely inserted explains that; "In December 1944 the Council of Ministers of the Polish Government in London summoned a Special Commission for investigating the problem of the 15,000 Polish prisoners of war missing in the USSR. This Commission set about collecting all accessible materials and documents. On the basis of the material in hand a group of experts has drawn up the temporary Report. which is a presentation of the facts and documents provided with a short conclusion. This report should be treated as strictly confidential." Includes individual accounts of the Polish POW camps, and a detailed analysis of the Katyn Woods massacre, evaluations and reactions.

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

        The Autobiography of Benvenuto Cellini Translated By John Addington Symonds

      NY: Doubleday, 1946. First edition thus. Hardcover. Orig. blue cloth. Teg. Fine in near fine slipcase, slight adhesion to slipcase decorative label./No Dust Jacket. Dali, Salvador. 442 pages. 25 x 17 cm. Limited edition, copy 189 of 1000 signed and dated by Salvador Dali. Host of full-page color plates, and black and white text illustrations by Dali. Brilliant copy, almost as new with gilt front cover decoration and spine lettering fresh, partly unopened.

      [Bookseller: Royoung bookseller, Inc.]
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      Paris: Gallimard, 1946. Broché. 12x19cm. Edition originale de la traduction française établie par Alexandre Vialatte, un des 105 ex numérotés sur pur fil, tirage de tête. Bel exemplaire. - Gallimard, Paris _1946, 12x19cm, broché. - broché

      [Bookseller: Librairie Le Feu Follet]
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        [Personal Reminiscences of Hitler and the Leading Nazis.]

      [?London, n.d.] , [1946] . c.30pp. MS on 26ll., quarto., lined paper extracted from a note-book, largely on rectos only, but on occasion extending onto versos. Numerous interlineal additions and revisions. Light browning, some inner edges a little ragged, rust-marks from paper-clips to the outside leaves, else very good. John Anthony Bouman was born in Middelburg, Holland in 1873. At the age of 20 he joined the London staff of the United Press, remaining with their successors, Laffan News Bureau and New York Sun, London Office, writing regularly for the Sun's Sunday edition. He ran the first daily cable service from London to Buenos Aires, El Diario, and contributed regularly to La Nacion in Argentina. During World War I he was Associated Press correspondent to The Hague and Amsterdam, covering major events for the American public, concluding with the Kaiser's flight into Holland. He transferred to the Paris Bureau for Versailles, and to Berlin in 1920 to cover the Kapp Putsch. His association with Germany continued through the 20s and it was from there that he made the trip to join the Norwegian Government's Relief Expedition to Amundsen in Spitsbergen; "Braving tremendous hazards at the age of 52... he eventually caught up with Amundsen at King's Way Bay after a stormy passage in icy seas in an old leaking sloop chartered at Green Harbour." (Hartwell Ink & Images ) In 1930 he was with Hindenburg in the "liberated" Rhineland, and throughout the 30s he "reported numerous events connected with the Nazi rise to power, meeting Hitler, Goering, Goebbels and others... [he] was on duty on June 30th, 1934, the "Night of the Long Knives"... and was present when, in 1935, Goering announced to the world the existence of a German Air Force in contravention of the terms of the Versailles Treaty..." He retired to London in 1939, where he died in 1958. The present notes were made for a public address at the time of the Nuremberg Trials; "L[adies] & G[entlemen]" - I have been asked to give you a short talk about the German War Criminals who are now facing their trial at Nuremberg. Several of them I have met face to face at one time or another during my twelve years residence in Berlin..." Bouman recounts his meetings with Robert Ley, head of the Deutsche Arbeitsfront, the Nazi Labour Organization, and organizer of the Kraft durch Freude [Strength through Joy] movement, "popularly known as "Drunken Ley;" Goebbels, Goering and, of course, Hitler. Goebbels was for Bouman "Hitler's ablest henchman in the propagation of his ideas.... an undersized , club footed, mannikin [with] a brilliant brain and a rapier-like tongue [who] understood his job as Nazi propagandist to perfection." Cleverly concealing his "supreme contempt" for Foreign Correspondents, by extending "facilities not generally accessible to Germans [and] official trips arranged and conducted in a first class manner." Bouman grudgingly concedes that "to hear Goebbels speak was an experience that was worth while to anybody who appreciates good oratory and fine elocution." Goering, on the other hand, made him think "that if he had lived in some earlier century would have made an ideal pirate captain, a roystering, devil-may-care swashbuckler with an enormous appetite and a flamboyant taste in ribbons and medals." He recounts being at Goering's wedding to Emmy Sonnemann in 1935, "a terrific affair" with 25,000 applications for tickets to the church, a motorcade of 500 vehicles carrying the Nazi leadership to the reception at the Kaiserhof Hotel, and a huge collection of exotic and valuable gifts culled from the national museums. He also attended the press reception at the Adlon Hotel when after greeting "affable and primping" the assembled journalists, instead of delivering "one of those propaganda speeches with which we were all bored stiff," Goering "launched into a detailed description of his new Luftwaffe... more than a match for any other power... the first time that these particulars were stated officially and publicly, and by such an authority. Out came our notebooks and presently there was a general scramble for the telephone boxes." His reminiscences of Hitler go back to the late 20s, when Bouman confesses that he "was one of the many correspondents who refused to take the Nazi movement seriously... what was one to think of a fellow who carried on crazily & fired revolver shots into the ceiling of a beer cellar when he thought he could not attract sufficient attention?" His first meeting with Hitler in 1929 did little to change his view, "He certainly didn't look like a superman... a passport would probably describe him as eyes; ordinary, nose; ordinary, ears; ordinary. Special marks - none." Having encountered him by chance at the Elephant Hotel in Weimar Bouman's attempts to secure an interview met with failure, largely because, unlike an American colleague, he had failed to offer "$500 to the Nazi party chest, which could always do with some bolstering up." In later years he saw Hitler speak frequently at the Sports Palast in Berlin, "I still see myself, seated at the press table on the platform, facing this huge audience, a sea of tense, white faces... the band would blare the Badenweiler March, Hitler's favourite,... the signal that the great I AM was about to appear, spotlights flooded, ten thousand arms shot up, and thunderous shouts of Sieg Heil rent the air." Not a "polished orator" like Goebbels, Hitler was rather "a spellbinder of the first class... His contorted face, his extravagant gestures, his beating the air with his fists, make people here laugh. But the German people took all this in deadly earnest." He recalls having covered an occasion "in the early days" when Hitler appeared at the Moabit Court accused of "seditious activities" and "was allowed to reverse the roles of prosecutor and defendant.. [he] subjected the judges of the court to a grilling which to say the least was highly improper... He roared and ranted, while the chief prosecutor interposed now and then with a mild "Aber Herr Hitler" only to be overwhelmed by more oratorical fireworks." Equally of interest are Bouman's more general observations on German society at the time, the impact and acceptance of propaganda, the fanaticism and the atmosphere of violence which stood behind it all ; "The Nazi party would never have gained the upper hand, were it not for its ruthless fanaticism... Know what you want, and go for it with complete disregard of laws human or divine... that is the Nazi doctrine. Carried out to its last logical consequences it explains concentration camps, gas chambers, ill treatment and spoliation of all kinds.... On one occasion [Hitler] roared "Germany is the freest country on the face of the earth" This was later improved upon by Goebbels when he said in my hearing, "We are gentlemen and we want to be treated as gentlemen" But Robert Ley capped it all when telling an audience that "Germany was a paradise and all Germans were angels." It is easy to laugh at such outbursts, but his hearers took it all as gospel truth... we did not think a time would come when frenzied 16 year olds would hurl themselves into our machine gun fire yelling, "I want to die for Hitler." Curious how this idea of death is always present at the back of the German mind. There is a popular lament set to music by Bach beginning "Komm süssen Tod..." A fascinating, unpublished, first-hand account of the Nazi regime and its leaders.

      [Bookseller: Peter Harrington]
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