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

        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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      New York: Frank J. Lowe 1946 [New York: Frank J. Lowe], 1946. First Issue. Image size 14 x 17 inches; with engraved legend and margins. Framed. Slight foxing to image and margin. Mitchell, British Equestrian Artists, pp. 407-08; Ordeman, The Aquatints, Drypoints and Etchings of The Derrydale Press, p. 61 . Martin Stainforth is regarded as Australia's leading horse painter, although he was an established artist in his native England before emigrating in 1908. In 1925 he went to America for an extended stay, during which time he painted a number of leading horses, including some of the William Woodward stable which were reproduced as prints by The Derrydale Press. He was noted for his painstaking efforts in making numerous working sketches and watercolors until he felt he had the image just right. States Mitchell: 'stainforth's detail and accuracy in likeness were very fine and very natural. He avoided the pitfalls of flatness and photographic stiffness so often found in this type of work".Printed for William Woodward, a continuation of the series originally begun by The Derrydale Press; when the Press closed in 1942, Frank J. Lowe, its vice-president and sales manager, continued the production of high-quality prints, including additional ones for presentation by Mr. Woodward to his friends

      [Bookseller: James Cummins Bookseller ]
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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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        The Journal of Albion Moonlight

      Padell New York: Padell. 1946. Fifth printing. Bookplate and label of Greenwich Village artist Arthur Sturcke on the endpapers, a few pieces of ephemera laid in, near fine in near fine dustwrapper. Inscribed by Patchen: "for my best friend, Arthur with all good wishes for his painting & for himself. Kenneth June, 1946." A nice association -- Patchen mentions Sturcke in his book Memoirs of a Shy Pornographer in a discussion of modern art: "All right, what about Kamrowski? -- or Lee Bell? -- or Jackson Pollack? -- or Arthur Sturcke?" .

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