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

        Albert Einstein States That the Motivation For His Life of Scientific Inquiry Was a Fanatical Desire For Simplicity

      He also writes of the Israeli War of Independence, "We all owe thanks and admiration to the brave band of our brothers in Israel, that they have succeeded in attaining by their own hand that to which they have a just right." & & Einstein is considered the greatest scientist since Newton, and was voted the leading person of the 20th Century by scholars, historians and average people alike. His Theory of Relativity made possible much of modern science, and theories he promulgated but could not prove himself continue to be proven by his successors. He instinctively believed that there is a complete rationality to the universe, and that its perfect and logical order precluded its being random. It was up to man to unravel and understand the workings of this cosmic plan to further the progress and knowledge of mankind. His scientific mind saw the challenge, and he determined to take on the unheard-of task of finding that order. His success in doing so raises important questions, such as what was the driving force behind his scientific work, and did he have a guiding principle? The answer is yes. & & In addition to his scientific work, Einstein was a noted humanitarian and deeply interested in the plight of Jews around the world. He always did what he could to assist individuals attempting to come to America and find work, and in the wake of the Holocaust supported establishment of a Jewish state in what today is Israel but was then Palestine. Since 1946, Britain, which had a UN mandate in Palestine, had been intercepting Jews and preventing them from making their way there, often sending them to internment camps on Cyprus. Finally, on May 14, 1948, the British mandate expired and the State of Israel was born. It soon found itself at war with adjacent Arab states and had to fight for its very existence. Einstein had a strong admiration for the nation-builders, who were often young people; he saw their struggle as one for the Jewish people as a whole. & & Siegfried Hessing was a Polish-Jewish writer and student of philosophy. That Einstein and Hessing were known to each other for some years is confirmed by the existence of at least a dozen letters exchanged between them; the earliest (1932) shows Hessing seeking Einstein's assistance for his work on Spinoza. When conditions in Czernowitz, Poland became too grim, Hessing sought help in emigrating with his wife and son. Forced to remain in Poland for the duration of the Holocaust, they survived and eventually boarded a ship for Palestine. The British intercepted them in the Dardanelles and sent them to internment (along with more than 51,000 other Jews) in Cyprus for a period of 18 months. Here Hessing continued in his scholarly work, concentrating on the philosopher Baruch Spinoza, whom Einstein so much admired. In 1948, Hessing wrote to ask Einstein to write a forward to his upcoming book on Spinoza. Einstein responds by empathizing with all Hessing had been through, goes on to praise the spirit of Israel, and finishes by providing the answer to the questions about his driving force and guiding principle in science. & & Typed Letter Signed, in German, Princeton, November 24, 1948, to Hessing. "I am confirming the receipt of your friendly letter of November 8 and empathize with you for all the difficulties you have had to suffer through. I am also happy for you, that this path of sorrow will soon come to an end through the presence of more normal circumstances. We all owe thanks and admiration to the brave band of our brothers in Israel, that they have succeeded in attaining by their own hand that to which they have a just right. I am glad to send you the photograph you desire which will be sent for the sake of security together with a copy of this letter to the address in Tel-Aviv. I've read the introduction to your book with great interest and would be happy if I could support you by means of a forward in your publication. I do not feel, however, capable or justified to write such a forward. The reason is that your way of representing relationships of one thing to another differs so much from my way that I cannot honestly enter into such a thing, as a person who has always striven with a kind of fanaticism for the highest degree of simplicity in my observation and expression. I hope that you understand this, and that you will soon be successful in publishing your work." Hessing went on to immigrate to the United States and write on the life and times of Spinoza. He was the editor of Speculum Spinozanum 1677-1977, which included a contribution by Einstein. This letter was obviously kept by Hessing all his life as a particular treasure, as it was folded in such a way that it might be carried in a wallet. This has resulted in some fading and wear, but the letter is perfectly legible, and the signature is very dark and strong. & & Einstein is well known for saying "Nature is the realization of the simplest conceivable mathematical ideas," and, "I have been guided not by the pressure from behind of experimental facts, but by the attraction in front from mathematical simplicity." Here he takes it one step further, indicating that the underlying motivation behind his life of scientific inquiry was the driving desire to find simplicity in all things. He also expresses his gratitude to and admiration for those Jews who created the State of Israel, showing both his strong support and his belief that they had succeeded, a fact not universally appreciated at the time.

      [Bookseller: The Raab Collection]
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        THE RIME OF THE ANCIENT MARINER. [and as an accompanying work issued in the same volume] ROBERT PENN WARREN. A POEM OF PURE IMAGINATION: AN EXPERIMENT IN READING

      New York: Reynal & Hitchcock, 1946. Inscribed to Surrealist Peter Blume byCalder, Malcolm Cowley, and Robert Penn Warren 260 x 191 mm (10 1/4 x 7 1/2"). 4 p.l., 148 pp. Publisher's red cloth, in the original pictorial dust jacket. In a black buckram solander box with a red morocco label on the spine. With 29 black and white illustrations by Calder. WITH THREE IMPORTANT INSCRIPTIONS TO THE NEW YORK ARTIST PETER BLUME AND HIS WIFE EBIE--BY THE ILLUSTRATOR CALDER (who spells "Blume" with a "B" that is formed by two petals from a flower he's drawn), BY THE DEDICATEE, MALCOLM COWLEY, AND BY ROBERT PENN WARREN, the author of the essay on "Mariner" printed in this volume. Dust jacket with vertical abrasion on back panel and with many very small chips around the edges, cloth covers a little soiled, spine a bit faded, but the binding solid, the jacket certainly very good, and a fine copy internally. This is an obviously very special copy of the great Coleridge poem, inscribed to the noted Surrealist artist and his wife by three major figures in 20th century American culture: the artist Calder (1898-1976), whose stark Modernist drawings illuminate the tale; poet laureate Warren (1905-89), who contributes an acclaimed critical essay on the text here; and literary critic Cowley (1898-1989), who memorialized the Lost Generation of American expatriate writers in Paris in his book "Exile's Return." The former owners, Peter and Ebie Blume, were part of the artistic community that settled in Connecticut after the Second World War, and the four principals here--of a similar age and located in the same general area--were good friends. Russian-born Peter Blume (1906-92) and his wife (referred to by Cowley as "Peternebie") devoted their lives to his work and to their home and garden in Sherman, Connecticut. Calder's affectionate inscription (written when he was admittedly tipsy) reads, "with much love / to Peter & Ebie / Blume / from Sandy, / (in a slightly punctured condition) / Xmas 1950." Warren has written below it: "To Peter and Ebie -- all love and thanks / for the privilege of writing this fact[?] here-- / Red / April 24, 1985." Cowley, who served as Peter's best man at his wedding to Ebie, has written beneath the Calder portrait of himself and the dedication ("For Malcolm Cowley"): "No, mo[re?], for Peter and Ebie, / Malcolm, April 1985." This remark would seem to suggest that it was the last one made and that there would simply be "no mo" inscriptions logically left to be written by anyone. It is of particular interest that Warren and Cowley have signed the Blumes' volume some 35 years after Calder did and nine years after the latter's death; it is easy to conjure up an evening's conversation that would have featured reminiscences of the departed artist and speculate that perhaps such memories led to the appended inscriptions.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        THE PARADINE CASE

      [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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        The Postman Always Rings Twice (Post-production script for the 1946 film)

      New York: Metro-Goldwyn-Mayer [MGM], 1946. Post-production Dialogue Cutting Continuity script for the 1946 film noir, the definitive adaptation of James M. Cain's legendary first novel. & & Card wrappers, noted as "Dialogue Cutting Continuity" on the front wrapper, dated February 27, 1946, credit for film editor George White, and several numeric holograph pencil notations, and with the title in red holograph ink along the top edge. Collates complete, detailing 6 reels, mimeograph. Bound at the top edge with two gold brads. In a custom clamshell box with leather spine titles.

      [Bookseller: Royal Books, Inc.]
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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.. 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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        Meutre dans la Cathédrale. [Murder In The Cathedral] Signed

      Paris: Editions du Seuil, 1946 Eliot, T. S.. Meutre dans la Cathédrale. [Murder In The Cathedral] Signed. Association Copy, Inscribed By The Author Of The First French Edition Of Murder in the Cathedral. Paris: Editions du Seuil, 1946. 1st French ed. Publisher's Printed Wrappers. Sm. 8vo., 142pp. A fine copy showing very light use [hint of soiling / foxing to cover] in the original glassine, - unopened & unread. Inscribed & Signed by Eliot on title page to the noted French writer & translator of: James Agee, Penelope Lively, George Orwell, John Cowper Powys, F Scott Fitzgerald, Iris Murdoch, Thurber & others: "Inscribed for / Jean Queval / by T.S.Eliot". In the rare original Publisher's wraparound band.. Signed by Author. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        La main coupée

      Deno? Paris: Denoël, 1946. Broché. 12x19cm. Edition originale, un des 230 ex numérotés sur alfa, seuls grands papiers avec 45 pur fil. Une petite déchirure sans manque affectant le deuxième plat, légère et partielle insolation du premier plat. - Denoël, Paris _1946, 12x19cm, broché. - broché

      [Bookseller: Librairie Le Feu Follet]
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        Life Without Principle

      Greenwood Press, San Mateo, California; James Ladd, 1946. Three of Thoreau's most famous essays (Civil Disobedience, Life Without Principle, and John Brown's Body), with an eight page preface by the notorious author of Tropic of Cancer, who also signed this copy in blue on the front flyleaf. Un-numbered hardcover from a limited edition of 500, with orange colored illustrated boards with rust colored spine on which is pasted the title. Aside from a few white stains on the rust colored spine strip of the front cover, and minimal soiling, the book is in quite nice condition. The paper dustjacket, with designs by California artist Lee Mullican, and misspelled "Life Without Principal [sic]" on the rear panel, has greater soiling, tanning, stains, and closed tears, although now encased in a Mylar protective sleeve.. Signed by Author. Limited Edition. Cloth. Very Good/Good.

      [Bookseller: Exquisite Corpse, Booksellers]
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        Painting

      1946. A fairly early painting by Miller: he had been painting since at least the 1930s and in 1943 earned $1400 from the sale of his paintings -- a not-insignificant sum. He had a large number of paintings in a show, presumably for sale, in London the following year. This is a watercolor of vaguely female serpentine figures around a chaotic center, veering toward the abstract as Miller frequently did, but with plenty of recognizable visual components -- a house, a moon, a star, etc. Signed "Henry Miller - 4/46." 10-1/2" x 11-1/4", matted and framed to 22" x 22-1/2". Fine. Most of the Miller artwork that appears on the market these days dates from the 1960s or 1970s; paintings from the 1940s are uncommon. .

      [Bookseller: Ken Lopez Bookseller, ABAA]
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        All the King's Men

      Harcourt Brace New York:: Harcourt Brace,, (1946).. First edition. Maroon cloth, a fine copy in lightly used first issue dust jacket (small old tape repairs inside). An advance copy, with the publisher's dated review slip, tipped to the front free endpaper.

      [Bookseller: Thomas A Goldwasser Rare Books ]
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        The Case of the Walking Corpse [with] the Original Cover Art

      David Lucom New York: David Lucom. (1946). First. Digest-sized paperback. First paperback edition, and first edition under this title, modest wear, a near fine copy [with] a first draft of the original cover art at full size (5.75" x 7.5"), unsigned on the original art (although signed on the paperback), but by, and from the estate of Glenn Cravath. Cravath created very few pulp covers, but many movie posters. He is best-known for his poster and photoplay artwork for the film King Kong. Great, lurid cover art of a clown with a knife buried in his breast, and a horrified couple looking on. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Berg

      26. August 1946.. Orig.-Buntstiftzeichnung. 41 x 32 cm. Seitenränder mit 1 cm. breiten Papierstreifen überklebt. Vom Künstler eh. signiert, dat. u. bezeichnet.

      [Bookseller: Antiquariat Burgverlag]
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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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        Full Production Without War

      Princeton University Press Princeton: Princeton University Press. 1946. First. First edition. Spotting on the boards and a small paper remnant adhered to the base of the spine from the jacket, as well as a pencil note from a bookseller dated in 1985 giving the provenance of the book, thus very good in very good dustwrapper with some small chips and tears at the extremities. Inscribed by the author: "To Susan Jenkins affectionately Harold Loeb." Jenkins was the wife of William Slater Brown, designer for the Provincetown Theatre, and a close friend of Eugene O'Neill's. Loeb's inscriptions are scarce. He was an important figure in Paris' expatriate community. He is also remembered in the literary world as the model for Jake Barnes' rival for the affection of Lady Brett Ashley in The Sun Also Rises, wherein his early kindnesses to Hemingway (using his influence with Horace Liveright to get In Our Time published) was repaid by being portrayed as Robert Cohn, the cowardly and especially "Jewish" villain. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Independent People

      New York: Alfred A. Knopf, 1946.. First American edition of the Nobel Prize-winning author's masterpiece. Octavo, original cloth. Inscribed by Laxness in a contemporary hand on the front free endpage. Bookplate of Yale historian and critic Jeffrey L. Sammons on the front pastedown. Very good in the dust jacket that shows some very light rubbing to the crown of the spine.

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        Existentialismen är en humanism.

      Stockholm, Bonniers, (1946). All edges uncut in original printed wrappers w. some minor edge-wear. Internally nice and clean. 137 pp.. First Swedish edition, presentation-copy: "A Carl Ericsson/ avec toute ma sympathie/ JPaulS." Printed the same year as the first edition."L'Existentialisme est un Humanisme" is the second of Sartre's two main philosophical works, which have both influenced 20th century philosophy greatly, and contributed immensely to the development of existentialism in general. "Existentialism is a Humanism" became one of Sartre's most widely read and most critcized works, and it caused great controversies and uproar at the time of its appearance; -as opposed to his "L'Être et le Néant", all of Sartre's critics actually read this work, and so did huge parts of the population, causing the book to appear in huge numbers after the publication of the first edition.The work is the literary re-working of an exposition given by Sartre at a conference in October 1945, where he caused a scandalous discussion, which among other things led to the fact that all references to the existentialist T.E. Lawrence were omitted from the work when it appeared in print. "Cette conférence marqua une date dans l'histoire anecdotique de l'existemtialisme..." (Contat & Rybalka p. 131)."L'Existentialisme est un Humanisme" fut l'un des ouvrages les plus lus et les plus critiqués de Sartre et suscita de considérables malentendus. Comme l'a bien vu M.-A. Burnier dans "Les Existentialistes et la politique" (p. 31), "l'importance prise par ces pages semble due à la paresse d'un bon nombre de critiques qui hésitant à lire "L'Être et le Néant" et qui furent heureaux de pouvoir attaquer Sartre sans grande fatique et avec bonne conscience après avoir parcouru 141 pages." Il est bon de rappeler cependant que l'ouvrage constitue une assez mauvaise introduction à la philosophie de Sartre, surtout pour un public non averti..." (Contat & Rybalka p. 132). Sartre himself also disowned great parts of this work, which makes it all the more interesting, since it is the only one of his works of which he has done so. The work was reprinted numerous times during the first years, and immediately translated into several languages. The first edition (on vellum-paper) is very difficult to come by. First edition: Contat & Rybalka 46/88

      [Bookseller: Lynge & Søn A/S]
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        LE DUR DESIR DE DURER. Avec 25 dessins originaux et un frontispice en couleurs de MARC CHAGALL..

      Arnold-Bordas, Paris, 1946. First edition. In French. Loose leaves in slip-case. A very fine copy. Folio. 25 original + frontespiece by Marc Chagall

      [Bookseller: Jones Antikvariat]
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        Autograph Letter Signed, 2 pages, 8vo, Washington, September 24, 1946

      This letter was written for publication, addressed to the editor of the New English Weekly. Philip Mairet, about Basil Bunting. ?Can anyone send news of Basil Bunting? Considered by a small, determined but highly competent group of leaders to be the most interesting Eng. poet of the late 1920s or early ?30s - Quaker - conscientious objector in first world war, said by the Chicago ?Poetry? to have been doing ground work in air- force, last seen according to rumour on a Trawler.?? Signed, ?Dorothy Pound.?

      [Bookseller: David Schulson Autographs ]
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        Explication de l'Étranger.

      Palimugre, (Sceaux), (1946). 12mo. Orig. printed wrappers. Uncut. Wrappers w. minor traces of use. Internally mint. (2), 31, (1) pp., (1) leaf (on which is printed "HORS COMMERCE").. First separate edition of this interesting and rare Sartre-publication, which is considered essential for the understanding of Camus. The work is extremely scarce, and was only printed in a very small number, all the copies of which are on fine paper, either velin de Lana, Lana supérieur or Japan, and no copies were for sale (all being Hors commerce). "(t)irée à petit nombre sur vélin de Lana, Lana supérieur at Japon, elle ne sera pas mise dans la commerce." (verso of first leaf).The work was written in September 1942, and it was printed in the journal "Cahiers du Sud" no. 253 in February 1943, pp. 189 - 206. "Texte fondamental pour la conaissance de Camus; écrit en septembre 1942. A noter que Sartre ne fera la connaissance de Camus que quelques moins plus tard, à la générale de MOUCHES." (Contat & Rybalka, p. 93). Contat & Rybalka 46/97: "Bien qu'en principe hors commerce, cette plaquette, imprimée en janvier 1946, a connu une large diffusion et semble avoir été à l'origine de la carrière d'editeur de Jean-Jacques Pauvert." With the autograph signature of "C.G. Bjurström", dated "Paris juli 1946" in pencil on front fly-leaf. Carl Gustaf Bjurström was a very important Swedish translator and publishing correspondent. He was born in Rotterdam in 1919 and died in Paris in 2001. He graduated as "licentié des lettres" in France and was manager of the Swedish institute in Paris (from 1951 till 1956). He introduced several French writers to Sweden, probably most importantly Camus, and he became the main translator of his works into Swedish. He knew Camus personally and even accompanied him on the train to Stockholm in 1957 to receive the Nobel Prize. He also translated several Swedish writers into French, most importantly probably Strindberg

      [Bookseller: Lynge & Søn A/S]
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        Blue Boy

      Viking NY: Viking. 1946. The first American edition of this novel by Giono, a writer whom Miller had come to admire while in France and whom he had long worked to get published in the U.S. This copy is inscribed by Miller to his muse and former wife, June: "For June/ from/ Henry, Lepska & Val/ Xmas 1947." Lepska was Janina Martha Lepska Miller, Henry's third wife, and Val was their daughter Valentin, who was born in October of 1945 and was named after Lepska's father and Henry's grandfather, who shared the same first name. June and Henry had not been in touch for several years at this point, but she had recently contacted him and was destitute. He arranged for a friend to send her some money (he was still broke in the U.S.; his books had sold well in France and he had a substantial amount of money there but no way, under postwar regulations, to get it out of the country). His renewed contact with June, however, sparked his getting back to work on the Rosy Crucifixion, which he saw as his masterpiece-to-be, but which had been languishing. The part he was about to embark on -- dealing with his time with June and Jean Kronski -- was full of painful memories that Miller would have to relive in order to write it. The contact with June -- with whom he maintained contact thereafter -- allowed him to revisit that time and those experiences, and to finally bring to fruition the long-contemplated work. The cloth is heavily and unevenly faded; corners bumped; a very good copy, lacking the dust jacket. An excellent association copy, representing numerous strands of Miller's life over the prior two decades. . First Edition. Hardcover.

      [Bookseller: Ken Lopez Bookseller, ABAA ]
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        Matthew Flinders' Narrative of His Voyage in the Schooner Francis: 1798

      1946. Matthew Flinders’s “Narrative of an Expedition to Furneaux Islands”[GOLDEN COCKEREL PRESS]. FLINDERS, Matthew. 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]: Printed in Great Britain at The Golden Cockerel Press, 1946.Limited to 750 numbered copies (this copy being No. 547). Folio (12 1/4 x 7 7/16 inches; 310 x 189 mm.). 100, [2], [2, blank] pp. Nine wood-engravings by John Buckland Wright (including frontispiece, title vignette, six head-piece vignettes, and printer’s device). Map. Printed in black and green. “Matthew Flinders’ Narrative has been designed, produced, and published by Christopher Sandford at the Golden Cockerel Press, London, on Arnold’s mould-made paper in 16pt. Aldine Bembo type, with Centaur initials, designed by Bruce Rogers, and Lyons capitals, designed by Louis Perrin, upon the model Latin inscriptions in 1846” (Colophon). “Bass’s journal of the whaleboat voyage”: pp. 29-43.Publisher’s full green buckram. Front cover pictorially stamped in gilt with a schooner designed by John Buckland Wright, spine stamped and lettered in gilt, top edge gilt, others uncut. Small red ink stamp on front free endpaper. A near fine copy.“The principal feature of this volume is the printing in full of Flinders’ 1798, ‘Narrative of an expedition to Furneaux Islands,’ the largest island of which is named Flinders Island. Included are several articles relating to Flinders’ interest in Australia, including his earlier explorations of Tasmania with George Bass. An abridgement is given of Flinders’ circumnavigation of Australia” (Hill).“Printed from the original manuscript, in the Victoria Public Library, which has title: Narrative of an expedition to Furneaux Islands on the coast of New South Wales” (Hill).“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!’” (Cockolorum).Cave & Manson 170. Cockalorum 170. Hill I, pp. 106-107.

      [Bookseller: David Brass Rare Books, Inc. ]
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        Undzere Churban In Bild, Our Destruction in Pictures

      Bergen Belsen, Undzere Shtima (Our Voice) December, 1946 Oblong folio, conservation case-bound using fully acid free materials the decorative colour wrapper in on top has been inset to prevent any damage. Published under the auspices of the Central Committee of the Liberated Jews in the British Zone. The text is in English, Yiddish, Hebrew and German. Each language has its own title page. Printed on card. Contains 115 photographs of the destruction of the Jews by the Nazis. Each page contains 3 or 4 pictures. The introduction of the book poignantly describes its purpose: "The incentive to produce this collection gave us our deepest desire to show the world the crimes of Germany, to give expression to the throttled cry of pain of the Jews. The desire to bring back our memories of Jewish Settlements which were drowned in torrents of Jewish Blood. May the world have this knowledge and ponder on it. When words are too weak and too poor to convey the destruction and extermination of Jewish life, may these pictures found by accident on arrested SS Soldiers, speak for themselves of the bestiality which will forever bring shame on human kind"

      [Bookseller: Fishburn Books]
 22.   Check availability:     Direct From Bookseller     Link/Print  


        THE DANCING DETECTIVE

      Philadelphia and New York: J. B. Lippincott Co. Philadelphia and New York: J. B. Lippincott Co.,. 1946. cloth.. Some dustiness to edges of text block, some offsetting to front free. end paper, a near fine copy in very good plus to near fine dust. jacket with light rubbing to corners and folds, minor chipping to. spine ends, and dust soiling to white background of rear panel.. (#125708). First edition. A collection of eight crime stories including "Two Men in a Furnished Room," the source for the 1947 noir film "The Guilty."

      [Bookseller: L. W. Currey, Inc. ]
 23.   Check availability:     ABAA     Link/Print  


        We Happy Few. An Anthology I: Britain at War, II: Britain at Sea, III: Britain in the Air.

      The Golden Cockerel Press, London 1946. 150 s. 8:o. Halvmarokängband med övre guldsnitt, övriga oskurna. Illustrerad med 11 trägravyrer av John O'Connor. Tryckt med Caslon Old Face i 750 numrerade ex. Detta exemplar är nummer 35 från den specialbundna delupplagan som utgör 100 ex. Mycket gott skick. "The binding of the 'specials' in red and blue (with the spine in red, the fore-edge in blue, and the goldlion on the white panel between) seemed to me one of my more than usually successfuk experiments." (Cockalorum 171)

      [Bookseller: Antikvariat Morris Stockholm/Södertalje]
 24.   Check availability:     Antikvariat     Link/Print  


        Das Glasperlenspiel.

      Zürich, Fretz & Wasmuth Verlag. 2 volumes in the original full blue cloth with black title labels and gilt ornamentation to spines. In the original dust jacks, which are very well preserved . Overall a very fine, near mint copy.. First edition of Hesse's last novel which was mentioned in his citation for the 1946 Nobel Prize for Literature. This utopian novel occupied him for eleven years. The year it was published Hesse's name was placed on the black-list of authors in Germany

      [Bookseller: Lynge & Søn A/S]
 25.   Check availability:     Antikvariat     Link/Print  


        The Last Twist of the Knife

      Charles Scribner's Sons New York: Charles Scribner's Sons. 1946. First. First edition. A bookplate on the front fly, else very near fine in near fine dustwrapper with a faint crease on the spine. Wealthy Laguna Beach playboy is stabbed to death during a film screening in Sun Valley. Very uncommon title, the second and final mystery by the second (and final) wife of Malcolm Lowry. A recent article in The New Yorker raised substantial questions as to whether Bonner should have been implicated in Lowry's demise, a death that was labeled at the time as accidental. .

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


        Existentialisme est en humanisme.

      (Paris), Les éditions Nagel, (1946). 8vo. Fully uncut and unopened in the orig. blank wrappers, with the original white wrapper w. black and blue printing, some monor soiling, and a small very neat repair to upper capital, not affecting lettering. Internally near mint. Ex libris to front free end-paper ((P.R. Méry). On vellum-paper. 141, (3) pp.. First edition, no. 466 of 500 copies on "vélin supérieur des papeteries Navarre, numérotes de 1 a 500.""L'Existentialisme est un Humanisme" is the second of Sartre's two main philosophical works, which have both influenced 20th century philosophy greatly, and contributed immensely to the development of existentialism in general. "Existentialism is a Humanism" became one of Sartre's most widely read and most criticized works, and it caused great controversies and uproar at the time of its appearance; -as opposed to his "L'Être et le Néant", all of Sartre's critics actually read this work, and so did huge parts of the population, causing the book to appear in huge numbers after the publication of the first edition.The work is the literary re-working of an exposition given by Sartre at a conference in October 1945, where he caused a scandalous discussion, which among other things led to the fact that all references to the existentialist T.E. Lawrence were omitted from the work when it appeared in print. "Cette conférence marqua une date dans l'histoire anecdotique de l'existemtialisme..." (Contat & Rybalka p. 131)."L'Existentialisme est un Humanisme" fut l'un des ouvrages les plus lus et les plus critiqués de Sartre et suscita de considérables malentendus. Comme l'a bien vu M.-A. Burnier dans "Les Existentialistes et la politique" (p. 31), "l'importance prise par ces pages semble due à la paresse d'un bon nombre de critiques qui hésitant à lire "L'Être et le Néant" et qui furent heureaux de pouvoir attaquer Sartre sans grande fatique et avec bonne conscience après avoir parcouru 141 pages." Il est bon de rappeler cependant que l'ouvrage constitue une assez mauvaise introduction à la philosophie de Sartre, surtout pour un public non averti..." (Contat & Rybalka p. 132). Sartre himself also disowned great parts of this work, which makes it all the more interesting, since it is the only one of his works of which he has done so. The work was reprinted numerous times during the first years, and the first edition (on vellum-paper) is very difficult to come by. Contat & Rybalka bibliographically merely state "141 pages. Volume paru en mars 1946. Nombreuses réimpressions". This copy states "Achevé d'imprimer en février 1946..." and "(1946 1er trimestre)" on colophon.Contat & Rybalka 46/88

      [Bookseller: Lynge & Søn A/S]
 27.   Check availability:     Antikvariat     Link/Print  

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