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Displayed below are some selected recent viaLibri matches for books published in 1948

        The Seven Storey Mountain

      New York (1948): Harcourt, Brace and Company. First Edition. Hard Cover with Dust Jacket. First issue binding of white cloth, spine lettered in black; in the first issue dust jacket, with caption on rear panel reading "The author is second from the left." A very good unsophistocated copy of Merton's autobiography. Book is near fine, dust jacket is very good, with red on spine fading and small loss at spine ends.

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
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        LES AMES MORTES. Traduction de H.Mongault. Eaux - fortes originales de MARC CHAGALL. Paris, Tériade Editeur, Presses de l'Imprimerie Nationale de France,1948

      1948. 2 vol. in - fol., fogli sciolti sotto copertina edit., astuccio originale di cart. grigio. Splendidamente impresso su "vélin d'arches filigrané Les Ames Mortes", testo composto a mano con caratteri "romain du roi" corpo 20 inc. da Granjean nel XVII sec. Edizione unica di 368 esemplari (il presente n.130) tutti con la firma autografa a penna di Chagall nella giustificazione dell'editore. Il romanzo di Gogol è illustrato da 108 magnifiche acquaforti originali, firmate dall'artista sulla lastra, delle quali quelle a piena pagina furono create nel 1927 su richiesta di A.Vollard, e 11 a mezza pagina, sono poste in testa ai capitoli, eseguite nel 1948 per l'edizione. Negli anni Venti Chagall scoprì l'incisione e si dedicò alla nuova tecnica con più passione e intensità che alla pittura. Tra il 1948 e il 1956 Tériade diede forma a una delle imprese più impressionanti dell'editoria moderna, pubblicando il monumentale trittico chagalliano, commissionato e lasciato incompiuto da Vollard, che conta più di trecento acqueforti. Chagall segue fedelmente il testo di Gogol e ricrea anche nei minimi dettagli l'ambiente e l'atmosfera della Russia aristocratica, popolare e naïve, a lui così familiare, intima e colma d'amore. Le sue 108 acquaforti hanno creato un capolavoro artistico d'immagini, inserite perfettamente nel capolavoro letterario. Uno dei livres d'artiste più riusciti e pregiati del XX secolo. "The etchings for the Dead Souls were executed between 1923 and 1927 and printed in 1927; the sheets were stored in Ambroise Vollard's warehouse until he could publish them, but unfortunately his own death in an automobile accident and Chagall's flight from German - occupied France kept them hidden until Teriade and Chagall published them in 1950". Ottimo esemplare di un grande capolavoro, perfetto.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Ler dla canpane

      L'art brut, 1948. - L'art brut, Paris 1948, 13,5x19cm, agrafé sous coffret - étui. - Rara prima edizione a stampa di 165 copie ed interamente scritto a mano dall'autore. Libro illustrato 6 incisioni originali di Jean Dubuffet. Autografo eccezionale e molto prezioso firmato dall'autore Hans Bellmer: "Hans Bellmer amicizie Jean Dubuffet" Indietro e leggermente piatta e marginalmente immaginato come generalmente, restauri teste marginali discreti e abili e piedi piatti. Prima opera di Jean Dubuffet, pubblicata in lingua parlata in calligrafia stencil con incisioni su linoleum, fondo di legno e di fondi scatole torta, e poi mano stampata dall'autore su carta da giornale con 6 incisioni di 150 più 15 Copie arricchiti 2 incisioni e inchiostri colorati per il "samatere detrase etdanprinte". Le cosiddette "tracce amanti e le impronte digitali" si nota, tuttavia, a nostra conoscenza, Dubuffet è stata dedicata alla sua famiglia che le copie "ordinaria", secondo lo stesso concetto che governa questo lavoro fondatore della Art Brut. Nella prefazione a Miniature binocoli da teatro, che riproduce in 1.962 incisioni di Ler dla Campane, Dubuffet torna alla genesi del suo primo libro: "stampato con mezzi di fortuna, questi libretti stavano prendendo tutto il piede contro i riti bibliofili. Proprio il contrario di solennità agghiacciante che danno edizioni di lusso di spessore, di carta costosa, tipografia grande casa, margini sciolti e la profusione di guardie e pagine bianche, che sono stati elaborati molto modestamente con dispositivi miseri in una dimensione piccola e un diario carta del tipo più volgare. Ci è sembrato (mi pare) che erano così attraenti come di solito è offerto come libri bibliofili. » La nostra copia autografata di Hans Bellmer è un raro e prezioso testimoni della grande influenza sul pensiero dei surrealisti Dubuffet e l'emergere di Art Brut. Infatti, anche se i critici d'arte e biografi concordano sottolineare un'eredità evidente, conserva solo poche prove di interazioni tra Dubuffet e dei surrealisti. Eppure è sotto l'egida di André Breton e la sua piena collaborazione, nel 1948 fondò la Società di Art Brut: "La parte che è fatto per te, come tu dici, questa azienda ha Art greggio, è vostro diritto, perché le vostre idee, stati d'animo, i tuoi impulsi, erano certamente gran parte nel plasmare le nostre menti su questo, ed era che il coperchio è posto al tavolo e se lo fai 'aveva voluto essere seduti, sarebbe rimasto vacante la copertina dell'angelo "(lettera del 28 maggio 1948). Questo rapporto tra la prima nota Dubuffet e surreale (che non è né un futuro, né un ex surreale) crea un entusiasmo immediato tra gli artisti che sviluppano diversi progetti comuni tra cui un almanacco di Art Brut. Ma nel 1951, il loro rapporto si disintegra, Breton disinnesta la Società e Almanacco ancora completato, non sarà mai pubblicato. Il fallimento di questa collaborazione e la nascente amicizia tra i due artisti che contribuiscono alla rottura definitiva tra i due movimenti e una crescente sfiducia reciproca. Volendo limitare Art Brut all '"arte dei pazzi", e così mantenere la supremazia surrealismo su questo "ramo", André Breton era probabilmente deluso le speranze di Dubuffet un'affiliazione naturale tra i due movimenti. Tuttavia, è il prezzo di questa rottura Dubuffet diventare uno dei maggiori artisti della seconda metà del XX secolo, mentre solo il surrealismo sopravvivere difficile guerra e l'intransigenza del suo fondatore. Il concetto di Art Brut, Dubuffet, come la formula nel 1948, potrebbe infatti essere parte di una continuità teorica o accettare merito artistico: "Opere artistiche [...] nulla (o minima) a imitazione delle opere d'arte a causa può essere visto in musei, mostre e gallerie, ma invece appello alla sostanza umana originale e la l'invenzione più spontanea e personale; produzioni che l'autore ha preso tutte le [...] in base ai propri meriti "(Jean Dubuffet, Avviso Company of Art Brut (Settembre 1948), in Prospetto ..., Volume I, p. 489) Questo necessarie posizioni di distanziamento e anti - surrealiste presi frequentemente associate con la mancanza di prove storiche che lo uniscono a questo movimento hanno costretto gli studiosi e biografi a più ipotesi affidamento sulla convergenza evidente di artisti e concetti. Oltre a questa breve amicizia con Breton, il surrealista difficilmente appaiono nelle biografie di Dubuffet. Eppure questa dedica amichevole per uno dei più importanti artisti surrealisti su questo primo mestiere libro testimonia la sua vicinanza ad altri membri del movimento; una vicinanza che rimane enigmatico perché Dubuffet volutamente "dimenticati" i suoi legami con il surrealismo, che è comunque uno dei principali eredi e successori. - [FRENCH VERSION FOLLOWS] Rare édition originale imprimée à 165 exemplaires et entièrement calligraphiée par l'auteur. Ouvrage illustré de 6 gravures originales de Jean Dubuffet. Exceptionnel et très précieux envoi autographe signé de Jean Dubuffet à Hans Bellmer : « à Hans Bellmer amitiés Jean Dubuffet » Notre exemplaire est présenté sous étui en plein box ocre, doublé de velours de la même couleur, reproduisant la calligraphie du premier plat de couverture. Dos et plats légèrement et marginalement insolés comme généralement, discrètes et habiles restaurations marginales en têtes et en pieds des plats.   Premier ouvrage de Jean Dubuffet, publié en langage phonétique calligraphié sur stencil avec des gravures sur linoléum, sur bois de caisse et fonds de boîtes de camembert, puis imprimé à la main par l'auteur sur papier journal avec 6 gravures à 150 exemplaires plus 15 exemplaires enrichis de 2 gravures et maculés d'encre pour « le samatere detrase etdanprinte ». Les dits « amateurs de traces et d'empreintes » noteront cependant, qu'à notre connaissance, Dubuffet n'a dédicacé à ses proches que des exemplaires « ordinaires », en accord avec le concept même qui préside à cette œuvre fondatrice de l'Art Brut. En préface de Vignettes lorgnettes, qui reproduit en 1962 les gravures de Ler dla Campane, Dubuffet revient sur la genèse de son premier livre :  « Imprimés avec des moyens de fortune, ces opuscules prenaient en tout le contre - pied des rites bibliophiliques. Tout à l'opposé des solennités glaçantes que donnent aux éditions de luxe les épais et coûteux papiers, les typographies de grande maison, les amples marges et la profusion des gardes et pages blanches, ils étaient tirés fort modestement à l'aide de dispositifs dérisoires dans un petit format et sur un papier à journal de la plus vulgaire sorte. Il nous semblait (il me semble encore) qu'ils étaient tels quels aussi attrayants que les livres habituellement offerts aux bibliophiles. »   Notre exemplaire dédicacé à Hans Bellmer est un des rares et précieux témoins de l'influence majeure des surréalistes sur la pensée de Dubuffet et l'émergence de l'Art Brut. En effet, bien que les critiques d'art et les biographes s'accordent à souligner une évidente hérédité, on ne conserve que peu de trace des interactions entre Dubuffet et les surréalistes. C'est pourtant sous l'égide d'André Breton et avec sa pleine collaboration qu'il fonde en 1948 la Compagnie de l'Art Brut : « La part qui vous est faite, comme vous dites, a cette compagnie de l'Art Brut, elle vous revient de plein droit car vos idées, vos humeurs, vos impulsions, ont eu certainement grande part à l'orientation de nos esprits sur tout cela, et il se devait que votre couvert soit mis à cette table et si vous n'aviez voulu y prendre place, il serait resté vacant comme le couvert de l'ange » (lettre du 28 mai 1948). Cette relation, la première connue entre Dubuffet et un surréaliste (qui n'est ni un futur ni un ex surréaliste) suscite un enthousiasme immédiat chez les deux artistes qui développent plusieurs projets communs dont un Almanach de l'Art Brut. Mais dès 1951, leur relation se délite, Breton se désolidarise de la Compagnie et l'Almanach, pourtant achevé, ne sera jamais publié. L'échec de cette collaboration et de l'amitié naissante entre les deux artistes contribue à la rupture définitive entre les deux mouvements et à une méfiance réciproque grandissante. En voulant cantonner l'Art Brut à « l'art des fous », et ainsi conserver la suprématie du surréalisme sur cette « branche », André Breton a sans doute déçu les espoirs de Dubuffet d'une filiation naturelle entre les deux mouvements. C'est cependant au prix de cette rupture que Dubuffet deviendra un des artistes majeurs de la seconde moitié du XXème siècle, tandis que le surréalisme ne survivra que difficilement à la guerre et aux intransigeances de son fondateur. La notion d'Art Brut, telle que Dubuffet la formule dès 1948, ne pouvait en effet s'inscrire dans une continuité théorique ni accepter de fondement artistique : « Ouvrages artistiques [...] ne devant rien (ou le moins possible) à l'imitation des œuvres d'art qu'on peut voir dans les musées, salons et galeries, mais qui au contraire font appel au fond humain originel et à l'invention la plus spontanée et personnelle ; des productions dont l'auteur a tout tiré [...] de son propre fond » (Jean Dubuffet, Notice sur la Compagnie de l'art brut (septembre 1948), in Prospectus..., tome I, p. 489) Cette nécessaire distanciation et les fréquentes prises de positions anti - surréalistes associées au manque d'éléments historiques le liant à ce mouvement, ont contraint les exégètes et biographes à de multiples suppositions appuyées sur la convergence évidente des artistes et des concepts. Hormis cette courte amitié avec Breton, les surréalistes n'apparaissent quasiment pas dans les biographies de Dubuffet. Pourtant cette dédicace amicale à l'un des plus importants artistes surréalistes sur ce premier ouvrage artisanal témoigne de sa proximité avec d'autres membres du mouvement ; une proximité qui reste cependant énigmatique car Dubuffet a délibérément « oublié » ses liens avec le surréalisme dont il est pourtant un des principaux héritiers et successeurs.  

      [Bookseller: Librairie Le Feu Follet]
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        BRYCHA 1945-1948. HOME THROUGH THE VALE OF TEARS. OYF DEM LAYDNSVEG KEYN ERETZ YISRAEL = BI-NTIV HA-YISURIM LA-MOLEDET.

      No Place, No Publisher, 1948. 1st edition. Later Cloth with covers bound in, Oblong 4to, Aproximately 100 leaves, mostly photographic plates. Includes 175 photographic illustrations. Introductory text and captions (many of Biblical origin) in English, Hebrew and Yiddish. ?This album seeks to present a ?picture of the wanderings of the 'remnants' of European Jewry - wanderings that began at the conclusion of the last war and still continue?? (From the introduction) . A collection of 175 black and white photographs documenting the ?Bericha? - - the 'illegal' underground flight of surviving European Jews into Palestine immediately following the Holocaust. This was the great exodus of European Jews following the holocaust, who illegally crossed the borders of Soviet-occupied lands and made their way as illegal immigrants to the shores of Palestine. Special sections of this album are dedicated to children and orphans who took part in this immigration effort, and another section documents the famous journey of the ship Exodus. Compiled by Ephraim Dekel, a high-ranking Haganah officer and architect of the Bericha escape-route. SUBJECT(S) : Jewish refugees. Emigration and immigration. Jewish refugees. Berih? Ah (Organization) Israel -- Emigration and immigration -- Pictorial works. Staining to first 10 leaves, heavy wear to original cover, which is bound in, but photographic and text pages are very good--clear, solid, and powerful. A Good Copy. (holo2-125-10)

      [Bookseller: Dan Wyman Books LLC]
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        The Equilibriad.

      8vo (223 x 148 mm). Original quarter brown buckram over marbled paper-covered boards with the very rare glassine dust wrapper printed with the title and price on the front flap; pp. 45, [1] with five full-page plates after drawings by Lucien Freud; two closed tears to the glassine dust wrapper, small nicks to the top edge of the same but a rare survival nevertheless. Limited edition of 750 numbered copies signed by the author. This copy numbered 172.

      [Bookseller: Henry Sotheran Ltd.]
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        La lampe dans l'horloge

      1948. Robert Marin, Paris 1948, 11x17cm, broché sous chemise et étui. - Robert Marin, Paris 1948, 11x17cm, broché sous chemise et étui. - Prima edizione, uno degli esemplari numerati in schiuma alfa, la nostra ingiustificata. Prezioso e unico dedica autografa firmata dall'autore Jean - Paul Sartre. La nostra copia è presentato camicia e borsa scatola piena di mandorle, parte del titolo e la dicitura "copia di JP Sartre" marocchino rosso. La dedizione del Papa del Surrealismo al maestro dell'esistenzialismo cui riunioni rari, tra cui New York, hanno lasciato quasi nessuna traccia nelle biografie, è tanto più sorprendente che Jean - Paul Sartre appena pubblicato in Qu 'Che cosa è la letteratura un articolo al vetriolo contro Breton: "L'accordo Surrealismo provvisorio e PC contro la borghesia non superi il formalismo; Questo è il concetto formale di negatività che unisce; [...] La negatività continua ciò che può essere detto, a parte la storia: sia nel momento e in eterno; è la fine assoluta della letteratura e dell'arte. Da qualche parte bretone dice [...] il "sacro" del proletariato. Ma in particolare, questa classe è stata progettata come una legione di angeli sterminatori, è davvero per autori come un mito religioso e gioca per l'acquietamento della loro coscienza, simile a quello svolto il ruolo mito popolare nel 1848 per gli scrittori di buona volontà. " André Breton non risponde alle critiche di Sartre più di quelli che formulano l'anno successivo, Simone de Beauvoir in Il secondo sesso. Questo piccolo lavoro politico tanto quanto poetico ma è nella lotta comune dei due intellettuali nella vita molto breve Revolutionary Democratic Rally fondata nel 1947 da Sartre rapidamente abortito, pur avendo Breton beni di investimento. 1948 è stato quindi l'unico incontro intellettuale di questi due grandi "pensatori" della fine del ventesimo, la cui personalità, esclusiva e senza compromessi non hanno permesso una comunione di pensiero sostenibile.   [FRENCH VERSION FOLLOWS] Édition originale, un des exemplaires numérotés sur alfa mousse, le nôtre non justifié. Précieux et exceptionnel envoi autographe signé d'André Breton à Jean - Paul Sartre. Notre exemplaire est présenté sous chemise et étui en plein cartonnage amande, pièce de titre et mention « exemplaire de J. P. Sartre » de maroquin rouge. Cette dédicace du pape du surréalisme au maître de l'existentialisme dont les rares rencontres, notamment à New York, n'ont laissé presque aucune trace dans les biographies, est d'autant plus surprenante que Jean - Paul Sartre vient juste de publier dans Qu'est - ce que la littérature un article au vitriol contre Breton :   « L'accord de principe du surréalisme et du PC contre la bourgeoisie ne dépasse pas le formalisme ; c'est l'idée formelle de négativité qui les unit ; [...] la négativité se maintient quoi qu'on en dise, en dehors de l'histoire : à la fois dans l'instant et dans l'éternel ; elle est la fin absolue de la littérature et de l'art. Quelque part, Breton affirme [...] la « mission sacrée » du prolétariat. Mais précisément, cette classe conçue comme une légion d'anges exterminateurs n'est véritablement pour les auteurs qu'un mythe religieux et qui joue, pour la tranquillisation de leur conscience, un rôle analogue à celui que jouait le mythe du Peuple, en 1848, pour les écrivains de bonne volonté. »   André Breton ne répondra pas plus aux critiques de Sartre qu'à celles que formulera, l'année suivante, Simone de Beauvoir dans Le Deuxième Sexe.   Ce petit ouvrage politique autant que poétique s'inscrit cependant dans le combat commun des deux intellectuels au sein du très éphémère Rassemblement Démocratique Révolutionnaire fondé en 1947 par Sartre et ayant rapidement avorté malgré l'investissement actif de Breton.   1948 fut donc la seule rencontre intellectuelle de ces deux grands « maîtres à penser » de la seconde moitié du XXème siècle, dont les personnalités, exclusives et intransigeantes ne permettaient pas une communion de pensée durable.

      [Bookseller: Librairie Le Feu Follet]
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        Sade et Restif de la Bretonne. Tapuscrit avec de nombreux ajouts autographes [Ensemble] Un livre vivant. Manuscrit préparatoire [ensemble] Les plaisirs et les jours, tapuscrit final.

      S.n, 1948. - S.n., s.l. 1948, 50 feuillets (21x27cm); 3 feuillets in - 8 (12x22cm), un feuillet 13,5x10,5cm; 17 feuillets in - 4 (21x27cm). - Dattiloscritto originale di 50 fogli, che costituiscono tutti gli scritti di Blanchot su Restif de la Bretonne pubblicato successivamente in Review n ° 22 di marzo 1948 con il titolo: "Un libro vivente", in Cahiers de la Pléiade No. 4 nel giugno del 1948, con il titolo: "I piaceri della virtù", e, infine, nella prefazione di "Sara" Restif de la Bretonne, vicino Stock nel 1949. A questo importante corpo, unito quattro pagine manoscritte lati del primo tiro e rileva anche che il dattiloscritto finale di "Piaceri della virtù", annotati dal curatore. Il primo foglio ha una lacrima significativo in testa con carenza che colpisce la maggior parte del titolo. Altri opuscoli volte hanno piccolo strappo marginale senza gravità. L'articolo è stato ripreso più tardi, nel 1986, in un saggio intitolato Sade e Restif de la Bretonne, pubblicato nella raccolta "Lo sguardo letterario" di Bruxelles, edizioni Complex. Dattiloscritti e manoscritti con numerose cancellature, correzioni e sottolineando in inchiostro. Nel 1948, vivendo un periodo di intensa attività letteraria con il completamento della seconda versione di Tommaso scrittura critica Obscure, Blanchot si sente di fronte, una profonda delusione "al punto di sentirsi inutile. "(Mendicante) Questo sentimento, tuttavia vanità alimenta una scrittura fertile. Blanchot elude nessuna amaro per gli sforzi di ricerca come testimoniano questo importante documento che rivela lo sviluppo del suo pensiero su Sade e Restif de la Bretonne. Questo dattiloscritto incredibile, con diverse fasi di scrittura e composizione, è un esempio unico del percorso intellettuale di Maurice Blanchot nella composizione di questa riflessione fondamentale. Uno studio comparativo di diverse versioni e articoli appraitre fatto che il documento che vi presentiamo è prima di tutte le pubblicazioni, ma comunque reca tracce ciascuno e ogni elementi. In effetti, se la struttura iniziale sembra essere quello della prefazione a Sara, aggiunte, modifiche, ristampe di alcuni volantini e le pagine rinumerazione corrispondono in parte allo sviluppo dei due articoli più brevi prima ancora pubblicati e composti estratti questa prefazione. Di grande complessità strutturale, il dattiloscritto rivela, dai suoi pentimento, correzioni sintattiche, inserzioni, tempi e collage la progressione del pensiero e la cronologia della scrittura. La natura disparata delle carte incluse in questo pacchetto di chiarire queste interruzioni nella scrittura. Le prime cinque pagine di corpus, il titolo in parte mancante [... A] si riferisce l'articolo "Un libro vivente", si concluderà su quello che sembra un abbandono della scrittura nel bel mezzo di una frase e una linea due terzi dello slip. Troviamo questo testo cambiato da pagina 20 e questa volta ha continuato a compimento: la conclusione della prefazione a Sara. Questa prima versione incompiuta che inizia il più breve manoscritto accompagnerà tutta la nostra sezione introduttiva della ufficiale delle Pleiadi. Blanchot poi comincia il suo articolo prendendo una nuova numerazione, con quello che sarà l'inizio sia della prefazione e piaceri della virtù. Come il suo lavoro fittizio, Blanchot propone una versione "lunga" in cui i fogli vengono inseriti con un testo troncato e parzialmente modificato la composizione delle due sezioni intermedie. Correzioni manoscritte sulla versione lunga, rinviata dattiloscritto sulla versione corta, non lasciano alcun dubbio circa la cronologia dei lavori di critica. Così, la conclusione di Pleasures di virtù che occupa le pagine 16 - 18, si conclude con la firma dattiloscritto Blanchot, mentre una seconda serie di pagine dal 16 al 18 introdotto dopo la riflessione. Allo stesso modo, da pagina 20, Blanchot riutilizzato, e modificato le prime pagine di dismissione a sviluppare la sua conclusione. Tutte queste abbondanti molto complesse correzioni volte e mostra la densità e la maturazione di questa scrittura palimpseste. Va inoltre notato che varie correzioni non sono stati riportati nelle versioni stampate. Questo è così molti interventi e sviluppi note scritte a mano che arricchiscono in modo significativo la conoscenza del lavoro dell'autore e la sua ricerca personale: "Mr. Bachelin vuole molto per Rémy de Gourmont che attribuisce a Restif (con [alcune] (soppresso) poco inesattezza) 2 - 300 volumi. Monselet contava 203 volumi [...] Il signor stesso Bachelin ha trovato 61.000 pagine, 190 volumi, tra ripetizioni. Ma non trascurare le prove: che cosa è più importante? ". Intervento molto personale di un autore che tante volte riutilizzati questi elementi nei suoi propri saggi critici e è solo riscrivendo il suo primo romanzo. Si rileva inoltre che il manoscritto che è sopravvissuto consiste solo delle prime linee di introduzione iniziale (quello usato in un libro vivente), allora non è più composta solo da appunti sparsi vera continuità. Finora, secondo i documenti che abbiamo consultato, i dattiloscritti in genere costituiti da una trascrizione di manoscritti con piccole variazioni e correzioni. Al contrario, il tanto qu'aporétique carattere minimalista del manoscritto e l'abbondanza di correzioni e recuperi da dattiloscritto suggerisce che questa volta, almeno, il dattiloscritto è il documento di lavoro originale da cui sviluppa il pensiero di l'autore. Oltre l'approccio strutturale della scrittura che permette questo dattiloscritto lavoro, sullo sfondo storia di notevole interesse, è caratterizzato dalla onnipresenza dei temi centrali della vita e dell'opera di Blanchot. La lunghezza eccezionale del testo così come il difficile lavoro di sviluppo mostrano un notevole investimento intellettuale, indice di particolare importanza che l'autore ha dato al lavoro di Restif affronta quella di Sade. Come la critica di Sade ("Alcune osservazioni sul Sade") composto alcuni anni prima, Blanchot ritrae sia psicologico, sociale e letteraria Restif de la Bretonne, non mancando di confrontarsi con lo spirito di due scrittori che sono cari a lui: "E 'noto che l'incesto è sempre sembrato Restif una passione [particolarmente / molto] amabile. Nel Anti - Justine, che vede il miglior antidoto contro le perversioni scure de Sade. "; "Lodate abbastanza piatti, ma ragionevole: Restif non è immorale, è, come abbiamo visto, la moralità di un uso singolare, ma è necessario. Rispetto ai filosofi naturali, per i quali non c'è né virtù né vizio, egli figura retrograda; rispetto a Sade, sembra un vero abisso. " Come al solito, Blanchot cerca di tracciare le appartenenze intellettuali stabilendo, a volte verso il basso, una genealogia della creazione letteraria. Un collegamento intelligente viene così stabilito tra Proust e Restif intorno al problema della memoria: "Ricorda Restif rende la facoltà creativa per eccellenza"; 'C' è che ogni narrazione è già investito un ricordo [...] "; "Dalle sue Mementos, le sue memorie e racconti, Restif cerca meno di perpetuare gli eventi che già scomparendo trasformare coloro che vengono in tempo già vissuto"; o "Molti dei suoi libri ricordi sovrapposti." Questo perenne riscrittura Blanchot ha trovato un'eco sorprendente nella stessa Restif analisi della scrittura: "Le sue idee vanno e vengono. Egli li elabora, si sbriciolano, concepisce altro. Essi non hanno la logica di un sistema, anche se li ha esposto più volte in una forma sistematica "risultato sembra meno personale," e [sempre] (strisce) ancora minacciate dal movimento erratico qualche mente fatto pensare, troppo la mancanza di serietà di una convinzione intellettuale che la gravità della passione. "Questo passaggio sbarrato in inchiostro sul dattiloscritto, finalmente compreso come tale nelle versioni stampate. I tempi della narrazione è messo per evidenziare la ricomposizione, prestiti e riformulazioni di pensiero Blanchot, che sembra anche essere strutturato nel corso della sua analisi, come risulta dalla reintroduzione della tesi precedente: "Le sue idee vanno e andare. Egli li elabora, si sbriciolano, concepisce altro. Il suo comportamento non è in alcun illuminato dalla loro, e se lui moralizzare su ogni sua azione, la sua morale è quello di dire, in quel momento ho degradato, quello è il momento in cui ero ancora onesto [...] ". Inoltre, l'attenzione e la forza interpretazione concesso alla aneddoti biografici riguardanti i bambini, i legami familiari, così come il risveglio della passione e impulsi creativi sembrano sollevare un velo sul leggendario modestia sul suo Blanchot esperienza dell'autorità paterna "Se è vero che i bambini hanno naturalmente per il loro padre, una riserva di odio, antipatia questo, nel caso di Restif, ha trovato deviato, e poteva amare il suo perfettamente riferendosi ai suoi fratelli maggiori troppo cattivi alcuni dei suoi sentimenti di famiglia. " Un'altra preoccupazione centrale Blanchot, la questione della moralità e la sua reversibilità, Sade già nello studio, si trova qui a Restif analisi psicologica del bretone. Il critico poi accusa un fascino profondo con personalità alla morale ambigue e traballanti, "nascondino gioco che Restif gioca con la moralità per, la sua gioia di marca ma con questo: solo [c'è ] (strisce) hanno commesso il più grande crimine, e lui non si sente mai depravato, che si rigenera e recupera, con la purezza, la piacevole prospettiva di perdere di nuovo. " Questo è probabilmente quando si cerca di vedere attraverso l'essenza dell'atto creativo Blanchot raggiunto il culmine della sua verve letteraria, impreziosito frasi incisivi risuonano come un'eco della propria condizione: "Lui ha questo libertinaggio autodidatti che possiedono imparare è un'avventura gratuito, e si aggiunge il piacere di visitare questo prezioso che impegna, abituarsi ad amare i propri errori e di rispettare i suoi errori e, infine, per godersi il suo rimorso Combinando la più bizzarra modo la virtù, il piacere, il dolore e la criminalità ". Oppure questa riflessione importante tinto della confessione di sua complicità intellettuale "Come si torna sempre a se stesso e il soggetto di tutti i suoi libri è la sua vita, visto che la vita subito trasformata in una solida gamma di caratteri stampati, crede ingenuamente un libro, e meglio di un libro di carta, un tavolo di metallo ditta, un solido, passato immutabile gettato inscritto nel legno e nella pietra. L'illusione è strano? Ma senza di essa, non poteva scrivere. E ciò che lo scrittore, ahimè! Nessuno si sentiva un giorno diventare Restif su questo? ». - [FRENCH VERSION FOLLOWS] Tapuscrit original de 50 feuillets, constituant l'ensemble des écrits de Blanchot sur Restif de la Bretonne parus successivement dans Critique n°22 de mars 1948, sous le titre : « Un livre vivant », dans Les Cahiers de la Pléiade n°4 de juin 1948, sous le titre : « Les plaisirs de la vertu », puis enfin en préface de « Sara » de Restif de la Bretonne, chez Stock en 1949. A cette important ensemble, sont joints quatre feuillets manuscrits recto verso de premier jet et de notes  ainsi que le tapuscrit final des « Plaisirs de la vertu » annoté par l'éditeur. Le premier feuillet comporte une déchirure importante en tête avec manque affectant la majorité du titre. Les autres feuillets comportent parfois de petites déchirures marginales sans gravité. L'article fut repris ultérieurement, en 1986, dans un essai intitulé Sade et Restif de la Bretonne, publié à la collection « Le regard littéraire » des éditions bruxelloises Complexes. Tapuscrits et manuscrits présentant de nombreuses ratures, corrections et soulignements à l'encre. En 1948, connaissant une période d'intense activité littéraire avec la finalisation de la deuxième version de Thomas l'obscur,  Blanchot éprouve, face à l'écriture critique, un profond désenchantement « au point d'en éprouver l'inutilité. » (Bident) Ce sentiment de vanité nourrit toutefois une écriture féconde. Blanchot ne se soustrait aucunement aux âpres efforts de la recherche comme en témoigne cet important document dévoilant l'élaboration de sa réflexion sur Sade et Restif de la Bretonne. Cet étonnant tapuscrit, comportant plusieurs étapes d'écritures et de composition, est un exemple unique du cheminement intellectuel de Maurice Blanchot dans la composition de cette réflexion fondamentale.  Une étude comparative des différentes versions et articles publiés fait en effet appraitre que le document que nous présentons est antérieur à toutes les publications mais qu'il porte cependant les traces et tous les éléments de chacune. De fait, si la structure initiale semble être celle de la préface de Sara, les ajouts, transformations, réimpressions de certains feuillets et renumérotation de pages correspondent en partie à l'élaboration des deux articles plus courts parus pourtant antérieurement et composés d'extraits de cette préface. D'une grande complexité structurelle, le tapuscrit révèle, par ses repentirs, corrections syntaxiques, insertions, reprises et collages, la progression de la pensée et la chronologie de l'écriture. La nature disparate des papiers qui composent cet ensemble rendent manifestes ces ruptures dans la rédaction. Les cinq premiers feuillets du corpus, dont le titre partiellement manquant [Un...] renvoie au premier article « Un livre vivant », se concluent sur ce qui semble un abandon de l'écriture au milieu d'une phrase et d'une ligne au deux tiers du feuillet. On retrouve ce texte modifié à partir de la page 20 et cette fois poursuivi jusqu'à son terme : la conclusion de la préface de Sara. Cette première version inachevée qui débute comme le court manuscrit accompagnant notre ensemble servira d'introduction à l'article des Cahiers de la Pléiade. Blanchot recommence ensuite son article, en reprenant une nouvelle numérotation, avec ce qui sera le début à la fois de la préface et des Plaisirs de la vertu. A l'instar de son travail romanesque, Blanchot propose ici une version « longue » dans laquelle sont insérés des feuillets présentant un texte tronqué et partiellement modifié pour la composition des deux articles intermédiaires. Les corrections manuscrites sur la version longue, reportées en tapuscrit sur la version courte, ne laissent aucun doute sur la chronologie du travail du critique. Ainsi, la conclusion des Plaisirs de la vertu qui occupe les feuillets 16 à 18, s'achève sur la signature tapuscrite de Blanchot, cependant qu'une seconde série de pages 16 à 18 introduit la suite de la réflexion. De même, à partir de la page 20, Blanchot réutilise, en les modifiant, les premières pages abandonnées pour élaborer sa conclusion. L'ensemble très complexe de ces abondantes reprises et corrections révèle la densité et la maturation de cette écriture palimpseste.  Il convient également de noter que diverses corrections n'ont pas été reportées dans les versions imprimées. Il en est ainsi de nombreuses interventions manuscrites et développements de notes qui enrichissent considérablement la connaissance du travail de l'auteur et de ses recherches personnelles : « M. Bachelin en veut beaucoup à Remy de Gourmont qui attribue à Restif (avec [une certaine] (rayé) peu d'imprécision) 2 à 300 volumes. Monselet a compté 203 volumes, [...] M. Bachelin lui - même a trouvé 61.000 pages, soit 190 volumes, comprenant des répétitions. Mais il ne faut pas négliger les répétitions : quoi de plus important ? ». Intervention très personnelle d'un auteur qui à tant de fois réutilisé ces propres articles dans ses essais critiques et qui est justement en train de réécrire son premier roman. On constate par ailleurs que le manuscrit qui nous est parvenu n'est composé que des premières lignes de l'introduction initiale (celle utilisée dans Un livre vivant), puis n'est plus composé que de notes éparses sans réelle continuité. Jusqu'à présent, d'après les documents que nous avons pu consulter, les tapuscrits consistaient généralement en une retranscription des manuscrits avec peu de variantes et de corrections. A l'opposé, le caractère minimaliste autant qu'aporétique de ce manuscrit et l'abondance des corrections et reprises du tapuscrit semble indiquer que, cette fois au moins, le tapuscrit constitue le document de travail original à partir duquel se développe la réflexion de l'auteur. Outre l'approche structurelle de l'écriture que permet ce travail tapuscrit, le fond du récit, d'un intérêt notable, se distingue par l'omniprésence des thèmes centraux de la vie et de l'œuvre de Blanchot. L'exceptionnelle longueur du texte tout autant que ce difficile travail d'élaboration témoignent d'un remarquable investissement intellectuel, indice de l'importance toute particulière que l'auteur accordait à l'œuvre de Restif confrontée à celle de Sade. A l'instar de la critique de Sade ("Quelques remarques sur Sade") composée quelques années auparavant, Blanchot dresse un portrait à la fois psychologique, social et littéraire de Restif de la Bretonne, ne manquant pas de confronter  l'esprit de deux écrivains qui lui sont chers : « Il est bien connu que l'inceste a toujours semblé à Restif une passion [particulièrement / très] aimable. Dans l'Anti - Justine, il y voit le meilleur antidote contre les sombres perversions de Sade. » ; « Eloges assez plats, mais raisonnables : Restif n'est pas immoral, il fait, nous l'avons vu, de la morale un usage singulier, mais elle lui est nécessaire. Par rapport aux philosophes de la nature pour qui il n'y a ni vertu ni vice, il fait figure de rétrograde ; par rapport à Sade, il semble un abîme de vérité ». Comme à son habitude, Blanchot cherche à retracer les filiations intellectuelles en établissant, parfois à rebours, une généalogie de la création littéraire. Un habile lien est ainsi noué entre Proust et Restif autour de la question du souvenir : « Restif fait du souvenir la faculté créatrice par excellence » ; « c'est que tout récit est déjà investi d'un souvenir [...] » ; « Par ses Mementos, ses mémoires et ses récits, Restif cherche moins à éterniser les évènements qui déjà disparaissent qu'à transformer ceux qui viennent en moment déjà vécus » ; ou encore « Beaucoup de ses livres superposent les souvenirs ». Cette perpétuelle réécriture de Blanchot trouve un écho surprenant dans l'analyse même de l'écriture de Restif : « Ses idées vont et viennent. Il les échafaude, elles s'écroulent, il en conçoit d'autres. Elles n'ont pas la logique d'un système, bien qu'il les ait exposées plusieurs fois sous une forme systématique » la suite semble moins personnelle : «  et [à chaque instant] (rayé) toujours menacées par le mouvement fantasque d'un esprit peu fait pour penser, elles manquent aussi bien du sérieux d'une conviction intellectuelle : que du sérieux de la passion. » Ce passage biffé à l'encre sur le tapuscrit, figurera finalement tel quel dans les versions imprimées. Les reprises du récit mettent de fait en évidence les recompositions, emprunts et  reformulations de la pensée de Blanchot, qui semble elle aussi se structurer au fil de ses analyses, comme en témoigne le réemploi de l'introduction du précédent argument : « Ses idées vont et viennent. Il les échafaude, elles s'écroulent, il en conçoit d'autres. Sa conduite n'est aucunement éclairée par elles, et s'il moralise à propos de ses moindres actes, sa morale consiste à dire : voilà le moment où je me suis avili, voilà l'époque où j'étais encore honnête [...] ». Aussi, la grande attention et la force d'interprétation accordées aux anecdotes biographiques, concernant l'enfance, les liens familiaux, autant que l'éveil des passions et des pulsions créatrices semblent lever un certain voile sur la pudeur légendaire de Blanchot quant à sa propre expérience de l'autorité paternelle « S'il est vrai que les enfants ont naturellement pour leur père, une réserve de haine, cette antipathie, dans le cas de Restif, s'est trouvé déviée, et il a pu aimer le sien parfaitement en reportant sur ses frères trop aînés la partie mauvaise de ses sentiments familiaux. » Autre préoccupation centrale chez Blanchot, la question de la morale et de sa réversibilité, déjà présente dans l'étude de Sade, se retrouve ici dans l'analyse psychologique de Restif de la Bretonne. Le critique accusant alors une profonde fascination pour les personnalités à la morale ambigüe et chancelante : « le jeu de cache - cache que Restif joue avec la morale pour son plus grand plaisir, se marque encore par ceci : à peine [a - t - il] (rayé) ayant commis le plus grand crime, et se sent - il à jamais dépravé, qu'il est régénéré et retrouve, avec la pureté, l'agréable perspective de pouvoir la perdre encore. » C'est sans doute lorsqu'il cherche à percer à jour l'essence de l'acte créateur que Blanchot atteint l'apogée de sa verve littéraire, agrémentée des phrases percutantes résonnant comme un écho de sa propre condition : «  Il a ce dévergondage propre aux autodidactes pour qui apprendre est une libre aventure, et il y ajoute ce plaisir de se rendre estimable par le fait qu'il commet, de s'habituer à aimer ses erreurs et à respecter ses égarements et finalement de jouir de ses remords en combinant de la manière la plus bizarre vertu, plaisirs, crime et regrets ». Ou encore cette importante réflexion teintée de l'aveu de ses connivences intellectuelles « Comme il en revient toujours à lui - même et que le sujet de tous ses livres est sa vie, voyant cette vie immédiatement transformée en une solide étendue de caractères imprimés, il se croit naïvement un livre, et mieux qu'un livre de papier, une ferme table de métal, une solidité de fonte, un passé inaltérable inscrit dans le bois et dans la pierre.  L'illusion est étrange ? Mais sans elle, il n'aurait pu écrire. Et quel écrivain, hélas ! Ne s'est senti un jour devenir Restif sur ce point ? ». 

      [Bookseller: Librairie Le Feu Follet]
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        Réflexions sur André Breton

      Editions lettristes, 1948. - Editions lettristes, Paris 1948, 12x15,5cm, agrafé. - Prima edizione, una delle 60 copie numerate a BFK Rives, solo grandi giornali. Indietro e leggermente piatta e marginalmente insolated, piacevole stato interiore. - [FRENCH VERSION FOLLOWS] Edition originale, un des 60 exemplaires numérotés sur B.F.K. de Rives, seuls grands papiers. Dos et plats légèrement et marginalement insolés, agréable état intérieur.

      [Bookseller: Librairie Le Feu Follet]
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        GEORGE WASHINGTON [7 Volumes; Slipcased; Signed First Edition Set]

      New York: Charles Scribner';s Sons, 1948. First Edition. Hard Cover. Near Fine binding. Signed by Author. A beautiful set; all volumes are First Editions; Volume I is signed by Dr. Freeman with a personal inscription; the first six volumes have their slipcases; Volume 7 was issued with a dustjacket but no slipcase; the jacket is present, though creased. Volume 7 is also Signed by Mary Ashworth. Mrs. Ashworth was Dr. Freeman's secretary, and, together with J. A. Carroll of the Library of Congress, she completed the work after Dr. Freeman's death. The massive biography was awarded the Pulitzer Prize posthumously. Near Fine binding.

      [Bookseller: Black Swan Books, Inc.]
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        Die Duineser Elegien. Wiedergabe der Handschrift des Dichters aus dem Besitz der Fürstin Marie von Thurn und Taxis - Hohenlohe.

      Zürich, Niehans & Rokitansky 1948 - 16 x 11.5 cm, Faksimile der Handschrift in einem Pergamenteinband und 30 S. Begleitwort von Ernst Zinn ( separater Band), eins von 300 num. Ex. ( N° 22), in Karton - Schuber [Attributes: Soft Cover]

      [Bookseller: Antiquariat A. Wempe]
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        A study of history. The COMPLETE 12 vol. set, with the atlas (vol. 11) and Reconsiderations (vol. 12)

      London, Oxford University Press, [, 1948-1961. Hardcover. Good. 12 volume set. Hardcover. Good bindings and covers. Library stamps and markings. Includes: Contents: V. 1-2. Introduction; The Genesis of civilizations. --v. 3. The growths of civilizations. --v. 4. The breakdowns of civilizations. --v. 5-6. The disintegrations of civilizations. --v. 7. Universal states; Universal churches. --v. 8. Heroic ages ; Contacts between civilizations and space. --v. 9. Contacts between civilizations in time; Law and freedom in history; The prospects of the western civilization. --v. 10. The inspirations of historians. A note of chronology; Acknowledgments and thanks. --v. 11. Historical atlas and gazetteer / Arnold J. Toynbee and Edward D. Myers. --v. 12. Reconsiderations. This is an oversized or heavy book, that requires additional postage for international delivery outside the US.

      [Bookseller: SequiturBooks]
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        Oliver Twist (Original photograph of David Lean, Oswald Morris, and Guy Green on the set of the film)

      London: Cineguild, 1948. Vintage black-and-white single weight reference photograph of director David Lean, cinematographer Oswald Morris, and lighting cameraman Guy Green on the set of the 1948 film. With a mimeograph snipe detailing who is in the shot. From the estate of Guy and Celia Green, with a letter of provenance attesting to same. 8 x 10 inches (20 x 25 cm). Near Fine. Criterion Collection 32.

      [Bookseller: Royal Books, Inc.]
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        Tom and Jerry's Bartender's Guide: How to Mix Drinks

      Chicago: The Charles T. Powner Co, 1948. Very Good. 128 pp. Orange wraps, printed in black and red. Revised 1948 edition. Very Good. Light wear and a light stain to wraps; price stamped on front cover. Slightly over-opened at front hinge. An extensive cocktail guide, with an alphabetical index at rear.

      [Bookseller: Burnside Rare Books]
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        Painting as a Pastime

      London: Odhams Press Limited and Ernest Benn Limited,, 1948. Octavo (218 x 138 mm). Finely bound by Maltby's of Oxford in mid-20th-century red half morocco, twin blue-green morocco labels, raised bands with dotted rule gilt, compartments panelled in gilt, red cloth sides, top edges gilt, marbled endpapers. Black and white frontispiece, 15 plates with 18 colour illustrations. Very faint spotting to frontispiece. A handsomely bound copy in excellent condition. First edition in book form, first impression. Painting as a Pastime was originally published across two issues of Strand Magazine in December 1921 and January 1922.

      [Bookseller: Peter Harrington]
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        The Postwar Speeches, a full set of jacketed first editions: The Sinews of Peace, Europe Unite, In the Balance, Stemming the Tide, and The Unwritten Alliance

      London: Cassell and Company Ltd., 1948. First edition, only printing. Hardcover. Here is a superior jacketed set of all five of Churchill's post-WWII speech volumes, challenging to assemble in such condition. These volumes span the period from Demobilization in late 1945, when Churchill was Leader of the Opposition, through his second Premiership (1951-1955) into a time when Churchill passes "into a living national memorial" of the time he has lived and the Nation, Empire, and free world he has served. The events encompassed by these years are in many ways no less dramatic than those of the war years - the unraveling of the British Empire, the post-war recovery, the onset of the Cold War, Soviet acquisition of the atomic bomb, development of the hydrogen bomb, and the beginning of the space age (to name a few). These postwar speech volumes are much scarcer than Churchill?s War Speeches volumes; all five of these books had only a single printing each. Moreover, not all of the fourth volume?s sheets were issued in a binding cloth and dust jacket matching the rest of the volumes; the later issue dust jacket is solid black with no matching oak leaf border at the top and bottom edges. Also of note, the fifth and final volume, The Unwritten Alliance, is the last of Churchill's books published in his lifetime and was issued only in Britain, with no U.S. edition. All five volumes in this set are in fine condition in very good plus or better dust jackets. All five cloth bindings are clean, tight, and square with sharp corners, bright spine gilt, unfaded spines, and virtually no wear. The contents of all five volumes are uniformly bright and unusually clean. Trivial spotting appears confined to the top edge and pastedowns of Europe Unite and top edge of The Unwritten Alliance. The only previous ownership marks are a decorative book plate affixed to the front pastedown of In the Balance (The "House of Belt" bookplate testifies that this volume came from the private collection of Dr. Elmer Belt, 1893-1980, renowned surgeon and noted bibliophile.) and an inked owner name and date on the upper left corner of The Unwritten Alliance front pastedown. The dust jackets are all unclipped, retaining the original front flap prices. All five dust jackets are bright, clean, and highly complete, with only minor wear to extremities apart from a 1.5 inch closed tear to the upper front face corner of The Unwritten Alliance, and fractional chipping at The Sinews of Peace and In the Balance spine heads with a .5 inch closed tear at the In the Balance upper front face. Stemming the Tide has the more desirable and elusive first state dust jacket and is an impressive example, with only incidental wear to the spine head and corners and a tiny scuff to the lower rear hinge. Dust jackets for The Unwritten Alliance were notoriously poorly printed, and consequently are almost always rubbed or streaked, with orange showing through the black background. This example of The Unwritten Alliance has strong spine presentation, with the typical orange streaks modest and confined to the front face. Bibliographic reference: Cohen A241.1, A246.1, A255.1, A264.1, A273; Woods/ICS A124(a), A128(a), A130(a), A137(a), A142; Langworth pages 184, 296, 301, 309, 338

      [Bookseller: Churchill Book Collector]
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        A large archive of material featuring ten (1 autogr. and 9 typed) letters to Wsevolode Grünberg and a short autograph note by Einstein, an ALS by Elsa Einstein and 2 TLS by Helene Dukas. Accompanied by a large archive of Grünberg's papers, consisting of well over 1,000 pages of material including some of his original drawings for his hydrofoil improvements, copies of his patents, etc.

      Princeton (NJ), Peconic, New York and Saranac Lake (NY), 1939 to 1948. - I: Albert Einstein. Mostly 4to. Altogether 11 pp. II: - Elsa Einstein: 8vo. 2 pp. - III: Helene Dukas. 4to. 2 pp. Grünberg, who later in life changed his name to Waldemar A. Craig, was an aeronautical engineer who developed an important design for the hydrofoil. The letters accompany a large archive of Grünberg's papers, consisting of well over 1,000 pages of material including some of his original drawings for his hydrofoil improvements, copies of his patents, (including a large dossier of declassified tests performed in the years immediately following WWI), photographs, correspondence, and other related documents and ephemera. - Grünberg, the nephew of a close friend of Einstein, appears to have become acquainted with Albert and his second wife Elsa sometime in the late 1920s or early 1930s, if not personally, by correspondence. In an undated letter from Berlin, written sometime before 1932, Elsa Einstein commented to Grünberg: "I am assuming you are just as kind and clever as you uncle, our dear friend. My husband and I were so glad having been able doing this small favor for you. Mr. Dunne wrote a most gracious note to us from Florida. In particular I want to thank you for the delicious grapefruits [.]" and adding "Feel free to call on me anytime, if you think I could be of help. Please be sure and do". - Apparently Grünberg took her advice, and travelling to the United States in 1939 approached Einstein for an introduction to fellow engineers in the U. S. in order to demonstrate his hydrofoil designs. The two met in June 1939 at the home of Irving Lehman in Port Chester, New York. - In addition to the introduction to the American engineering community, Einstein also agreed to handle a complex inheritance matter for Grünberg. On 1 July 1939, the same day he recommended Grünberg to his American associates, he wrote to him that he had written "a most insistent letter to Mr. Plesch in which I suggested to name an arbitrator in the inheritance matter who would be agreeable to you as well as to me and who could personally communicate with Mr. Plesch and yourself". Enclosing the letter to Dr. Lewis, Einstein advised, "I cannot understand though, how you could succeed to find a position here without a valid residence permit. I urge you to carefully investigate this subject prior to making use of the enclosed letter". Einstein continued to assist Grünberg with the inheritance issue, acting as a go-between Grünberg in the U. S. and Mr. Plesch in France. - Despite some annoyances, Einstein did what he could for Grünberg both for his inheritance and his scientific pursuits - Grünberg's personal papers concern his research on his hydrofoil designs which he first developed in France. The archive includes some of Grünberg's original drawings demonstrating applications for his design as well as some manuscript calculations in his hand, some original U. S. patent certificates for several inventions, one German patent awarded to him in 1930, original photographs, likely from the early 1930s, and several magazines including Popular Science and others discussing Grünberg's work and designs. - Detailed description available upon request.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Las Botas de Siete Leguas. Viaje a la Alcarria

      Madrid, Revista de Occidente 1948 - 223 páginas. . 23 x 17 cm. Primera edición del libro. ejemplar dedicado por el autor a Guillermo de Torre: "A Guillermo con las llaves de mi casa- Madrid-23. Enero-52" [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Largine]
 17.   Check availability:     IberLibro     Link/Print  


        IF THIS BE TREASON

      Siena, Italy: Printed for Olga Rudge by Tip. Nuova, 1948. 1st Edition [Gallup A59]. Stapled green wrappers printed in black. Ex-academic library, with only a small, four-letter stamp to the head of the copyright page; no other library markings. Spine heavily sunned; light sunning to wrappers; gentle bump/crease to upper corner throughout; margins toned. Interior otherwise clean, binding sound. VG.. 33, [1] pp. 8vo. 8-3/8" x 6-3/16" Limited edition of roughly 300 copies, this copy, like most, unnumbered. Includes five of Pound's talks "printed from the original rough drafts. No cuts corrections or changes have been made." Includes: "e. e. cummings/examind"; "James Joyce: to his memory"; "A French Accent"; "Canto 45"; and "Blast." An uncommon title.

      [Bookseller: Tavistock Books, ABAA]
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        Summer and Smoke

      New York: Signet Books # D2019, 1948. Book. Very Good. Mass Market Paperback. Inscribed By Author. 12mo - over 6¾" - 7¾" tall. Housed in a custom made clear Lucite box. Business card of the dedicatee laid in..

      [Bookseller: Peter Austern & Co. Books & Ephemera]
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        Seid ihr alle da ? Kasperle-Bilder von Horst Janssen. Mit Versen von Rolf Italiaander. EA. - die erste Buchveröffentlichung von Horst Janssen. Im Druckvermerk mit der Angabe: "Horst Janssen, geboren 1929, zeichnete die Kasperlebilder im Sommer 1947 als Schüler der Graphikklasse Mahlau an der Landeskunstschule Hamburg".

      Hamburg, Hermann Laatzen Verlag, 1948. - 8 nn. Bll. Mit farb. ill. Titel, 11 farbigen Textillustrationen und 2 farbigen Einbandillustrationen von Horst Janssen. Quer-Gr.8° (22,8 x 16,3 cm), farb. ill. OKarton (Softcover). Einband gering berieben und etwas gebräunt; Vorderdeckel mit kleiner Knickspur in der oberen Ecke und winziger Knickspur in der unteren Ecke; leichte Stoßspur am unteren Kapital - auch die Blätter hier durchgehend mit leichter Stoßspur. Durchaus ein gutes Exemplar des empfindlichen Bandes. Doderer/Müller 1218 (Janssen u. Italiaander); Doderer II, 34 (Italiaander). Buch DE [Attributes: Soft Cover]

      [Bookseller: AixLibris Antiquariat Klaus Schymiczek]
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        Arts Antiques de l'Asie Occidentale á Partir du IVe Millenaire avant J.C. et les Origines des Motifs de la Céramique Islamique Archaique.

      394 pp. scholarly study of ancient Middle Eastern artworks, incl. Sumerian, Cappadocian, Persian and Babylonian items, and their influence on later motifs in Islamic pottery, contributions by numerous noted scholars, ext. notes, bibliography, list, map, 524 plates from drawings after objects and decorative motifs, 30 plates from photographs. 4to. New cloth. Nice (Mathieu) 1948.

      [Bookseller: F.A. Bernett Books]
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        The Second World War, full set of six British first editions

      Cassell and Company, Ltd., London 1948 - Here is a full set of British first editions of The Second World War, Churchill's history of the epic 20th Century struggle that was so indelibly stamped by his leadership. Seldom, if ever, has history endowed a statesman with both singular ability to make history, and singular ability to write it. As with so much of what Churchill wrote, The Second World War is not "history" in the strictly academic, objectivist sense, but rather Churchill's perspective on history. In his March 1948 introduction to the first volume, Churchill himself made the disclaimer, "I do not describe it as history. it is a contribution to history." Nonetheless the compelling fact remains, as stated by Churchill himself, "I am perhaps the only man who has passed through both the two supreme cataclysms of recorded history in high Cabinet office. I was for more than five years in this second struggle with Germany the Head of His Majesty's government. I write, therefore, from a different standpoint and with more authority than was possible in my earlier books." Certainly The Second World War may be regarded as an intensely personal and inherently biased history. Nonetheless, Churchill's work remains iconic and a vital part of the historical record. Richard Langworth calls the six-volume epic "indispensable reading for anyone who seeks a true understanding of the war that made us what we are today." Jacketed British first edition sets in marginal condition are not uncommon. However, the coarse cloth bindings of this edition proved susceptible to soiling and mildew, the contents (printed on post-war "Economy Standards" paper) proved highly prone to spotting, the red-stained top edges are most often severely faded, and the dust jackets proved exceptionally vulnerable to pronounced spine toning. Consequently, superior jacketed sets have become scarce. This set features very good plus or better volumes in very good dust jackets. The black cloth bindings are square, clean, and tight with sharp corners and bright spine gilt. The contents remain unusually clean. We find no previous ownership marks. Spotting is remarkably light for the edition, primarily confined to the Volume I & II page edges. The red-stained top edges vary from strong color to only moderate sunning. The dust jackets are all unclipped, retaining the original lower front flap prices. The jackets are complete apart from fractional chipping to the Volume I jacket spine ends and corners, though this jacket compensates with exceptionally bright shelf appearance. The jackets show no appreciable soiling. The red spine subtitles all remain legible, though most do show mild evidence of the spine toning endemic to the edition. All six dust jackets are protected with removable, archival quality clear covers. Please note that this set may require additional postage. Bibliographic reference: Cohen A240.4(I-VI).a, Woods/ICS A123(ba), Langworth p.264 [Attributes: First Edition; Hard Cover]

      [Bookseller: Churchill Book Collector ABAA/ILAB/IOBA]
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        Other Voices Other Rooms

      Random House, 1948 FIRST EDITION of Truman Capote's Other Voices Other Rooms. Published in New York Random House in 1948. First Printing stated on copyright page. Book fine, DJ near fine, especially nice copy. DJ price reads $2.75. Comes in custom-made collector's cloth slipcase.. 1st Edition. Hardcover. Fine/Fine.

      [Bookseller: Bookbid Rare Books]
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        Autograph letter signed to Penelope Betjeman

      1948. 2pp. on 1ff. foolscap paper. Handwritten letter from David Jones to Penelope Betjeman (née Chetwode), dated 15 July '48, containing an interesting look at Catholicism in Jones's life, art, and relationships. The letter begins by describing a re-enacted a 3rd century Mass hosted by liturgical scholar Gregory Dix. Jones was very impressed with Dix himself, saying that he was "admirable - his discourse excellent... informative and interesting." He was less impressed with the staging, complaining of the costuming ("the effect of which, to the eye, was rather like a Freemason's dinner") and the decor ("with a bloody great organ above the stage partly obscured by the worst and biggest Crucifix I've ever seen, which is saying a great deal!"). Nevertheless, the demonstration did "help me to see more clearly what a mass at the time of Hippolytus was like." Jones also mentions that he is currently reading Dix's Shape of the Liturgy, which "is packed full of illuminating material & I do like his kind of mind." The liturgical research that Jones is doing here may have been preliminary work for The Anathemata, Jones's second long poem, which is set during the Consecration of the Mass. Jones also discusses his recent art show, which was held at the Redfern Gallery in 1948. He expresses regret that Penelope's husband, poet John Betjeman, and T. S. Elliot could not attend, as he "did want both of them to see it, especially." Since Penelope was especially taken with Vexilla Regis, Jones sends along pictures, although it's "not like a photo is any use - but it is better than that awful reproduction in the catalogue." Vexilla Regis was the culmination of the tree studies that Jones painted while staying at Northwick Lodge in Harrow following his nervous breakdown in 1947. The complex painting is replete with Catholic imagery and symbolism, and may have appealed to Penelope for precisely that reason. Penelope converted to Roman Catholicism in 1948, and became quite devoted to her new faith. Penelope and her husband later separated, and her conversion was likely a contributing factor, as John remained with the Anglican Church. Jones closes by complaining briefly of his health ("I'm not well at present - I've got some damned diarrhoea - a kind of gastric flu, a foul thing and feel very depressed") and deferring Penelope's offer to come and visit with her. He signs the letter, "God bless. Love from David. P.S. Please give my love to John." Folded for mailing and a little browned, else in fine condition.

      [Bookseller: Bromer Booksellers]
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        WHO GOES THERE? SEVEN TALES OF SCIENCE FICTION

      Shasta Publishers, Chicago 1948 - Octavo, cloth. First edition. One of an undetermined number of subscriber copies signed on the front free endpaper. Classic collection of stories first published under Campbell's pseudonym, Don A. Stuart, in ASTOUNDING SCIENCE FICTION between 1934 and 1938. "These short stories are much better than the author's novel-length space operas, and constitute a fascinating body of work." - Anatomy of Wonder (1995) 2-13. The title story has been filmed twice, the first in 1951 as "The Thing From Another World", one of the classic Science Fiction films of the 1950s (with James Arness in the title role), and by John Carpenter in 1982 as "The Thing." See Anatomy of Wonder (2004) II-211. See Survey of Science Fiction Literature IV, pp. 2003-07. A fine copy in nearly fine dust jacket with some rubbing to corner tips and spine ends with the rubbing at the lower spine end and lower corner tips touched up with a blue ink marker, and light tanning to the spine panel. (#155247) [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Currey, L.W. Inc. ABAA/ILAB]
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        Poèmes.

      Gallimard., Paris 1948 - 8vo.210x145mm. Original paper covers and tissue. Trade issue, paper heavily browned throughout, rubbed at head of spine. From the collections of Jacques Brunius and John Lyle . With a presentation inscription from Breton to Brunius."A mon cher J.B.Brunius, de tout coeur, André Breton" JACQUES BRUNIUS: Jacques Brunius, nom d'artiste de Jacques Henri Cottance, est un acteur, réalisateur, homme de radio et écrivain français, né à Paris le 16 septembre 1906, mort à Exeter (Angleterre) le 24 avril 1967. Suivant les films et les textes, il est crédité sous différents pseudonymes : Borel, Jacques Borel, Brunius, J.B. Brunius, Jacques B. Brunius, Jacques-Bernard Brunius, John La Montagne, Olaf Apollonius, Jacques Berne. Pendant la guerre, il est à Londres, journaliste membre de l'équipe des Français parlent aux Français à la BBC. Pour la RTF il traduisit en français la pièce radiophonique de Dylan Thomas, Au bois lacté, dont l'adaptation fut réalisée par Alain Trutat. Il était également ami de E. L. T. Mesens, membre du groupe surréaliste en Angleterre, rédigeant à propos des collages de son ami le texte Rencontres fortuites et concertées. [Attributes: First Edition; Soft Cover]

      [Bookseller: Roe and Moore]
 26.   Check availability:     AbeBooks     Link/Print  


        THE POST-WAR SPEECHES - The Sinews of Peace, Europe Unite, In the Balance, Stemming the Tide, and The Unwritten Alliance

      Cassell & Co., Ltd, 1948. ALL FIRST EDITIONS. 5 Vols., 8vo. 8-3/4" x 5-5/8". bound in recent full dark blue morocco leather, ribbed gilt decorated spines, gilt lettered red morocco spine labels, spine panels gilt with Rampant Lion device, covers ruled in gilt, all edges gilt.

      [Bookseller: D&D Galleries - ABAA]
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        Holograph Letter to the Trustee at the Biochemistry Department

      Dated on August 24, 1948, Sent from Switzerland, Arosa - Two bifolios of lightweight paper. Manuscript in ink, signed as "Prof". Text in Hungarian. 145 × 208 mm. Holograph letter by Albert Szent-Györgyi to his trustee to distribute tasks among his assistants at his laboratory. Szent-Györgyi gives tasks to seven of his colleagues via András Bartha his trustee at the Biochemistry Department of the University of Budapest. Szent-Györgyi instructs Laszlo (Laci) Varga to perform the experiment he made already with muscle this time with actomyosin, to see if their molar mass are equivalent, which will be calculated by Tamás Erd?s. Askes Abel Lajtha to work on hydrolysis of proteins. Orders George (Gyurka) Rozsa to continue his experiments with smooth muscle tissue, and gives various tasks to Andras Biro (Zebi), Andrew Szent-Györgyi (Csuli; Albert's nephew) and Ferenc Guba. Mrs. Szent-Györgyi's letter deals with personal and family matters. Albert Szent-Györgyi (1893-1986) was a Hungarian physiologist who won the Nobel Prize in Physiology or Medicine in 1937 for isolation and synthesis of vitamin C. He is credited with discovering vitamin C, the components and reactions of the citric acid cycle and free radicals, he made important researches in biochemistry of cancer. With demaged envelop. Letters in fine condition. Two bifolios of lightweight paper. Manuscript in ink, signed as "Prof". Text in Hungarian.

      [Bookseller: Földvári Books]
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        Typed Letter Signed

      London 1948 - ("T.S. Eliot") in fountain pen ink, London, England, September 7, 1948, on his Faber and Faber letterhead. 8 1/2" x 11"; 1 page (recto only). Very good (minor signs of handling; creases). Together with the original typed mailing envelope, stamped and postmarked London, September 7, 1948. Norman Nicholson, Esq. 14 St. George's Terrace Millom, Cumberland Letter regarding Nicholson's latest play. Eliot's approval of it, and Faber's willingness to publish it. Faber published his play "Prophesy to the Wind" in 1950. It was first performed at the Newcastle People's Theatre in January 1949. [Attributes: Signed Copy]

      [Bookseller: Houle Rare Books/Autographs/ABAA/PADA]
 29.   Check availability:     AbeBooks     Link/Print  


        The Second World War

      London: Cassell and Co., 1948-54.. ALL FIRST EDITIONS. 6 volumes; Octavo. Elegantly hand-bound in half green morocco with raised bands, gilt titles and gilt decoration to spines; marbled boards; top edges gilt. With several maps. Edges a little dusty, one or two minor marks within. A handsome set. 'This is not history; this is my case.' The author's most famous work, and the books that brought most readers to Churchill.

      [Bookseller: Adrian Harrington Rare Books]
 30.   Check availability:     IOBABooks     Link/Print  


        The Second World War, full set of six British first editions

      London: Cassell and Company, Ltd., 1948. First edition, first printing. Hardcover. Here is a full set of British first editions of The Second World War, Churchill's history of the epic 20th Century struggle that was so indelibly stamped by his leadership. Seldom, if ever, has history endowed a statesman with both singular ability to make history, and singular ability to write it. As with so much of what Churchill wrote, The Second World War is not "history" in the strictly academic, objectivist sense, but rather Churchill's perspective on history. In his March 1948 introduction to the first volume, Churchill himself made the disclaimer, "I do not describe it as history... it is a contribution to history..." Nonetheless the compelling fact remains, as stated by Churchill himself, "I am perhaps the only man who has passed through both the two supreme cataclysms of recorded history in high Cabinet office... I was for more than five years in this second struggle with Germany the Head of His Majesty's government. I write, therefore, from a different standpoint and with more authority than was possible in my earlier books." Certainly The Second World War may be regarded as an intensely personal and inherently biased history. Nonetheless, Churchill's work remains iconic and a vital part of the historical record. Richard Langworth calls the six-volume epic "indispensable reading for anyone who seeks a true understanding of the war that made us what we are today." Jacketed British first edition sets in marginal condition are not uncommon. However, the coarse cloth bindings of this edition proved susceptible to soiling and mildew, the contents (printed on post-war "Economy Standards" paper) proved highly prone to spotting, the red-stained top edges are most often severely faded, and the dust jackets proved exceptionally vulnerable to pronounced spine toning. Consequently, superior jacketed sets have become scarce. This set features very good plus or better volumes in very good dust jackets. The black cloth bindings are square, clean, and tight with sharp corners and bright spine gilt. The contents remain unusually clean. We find no previous ownership marks. Spotting is remarkably light for the edition, primarily confined to the Volume I & II page edges. The red-stained top edges vary from strong color to only moderate sunning. The dust jackets are all unclipped, retaining the original lower front flap prices. The jackets are complete apart from fractional chipping to the Volume I jacket spine ends and corners, though this jacket compensates with exceptionally bright shelf appearance. The jackets show no appreciable soiling. The red spine subtitles all remain legible, though most do show mild evidence of the spine toning endemic to the edition. All six dust jackets are protected with removable, archival quality clear covers. Please note that this set may require additional postage. Bibliographic reference: Cohen A240.4(I-VI).a, Woods/ICS A123(ba), Langworth p.264

      [Bookseller: Churchill Book Collector]
 31.   Check availability:     Biblio     Link/Print  


        Alcoholics Anonymous

      New York: Works Publishing, Inc, 1948. First Edition. Hardcover. Very Good. First edition, twelfth printing. Very Good, with creasing to front cover, finish to cloth on front seems dulled as if perhaps wiped dry, tape ghosts to end sheets, in a Very Good twelfth printing dust jacket, with a chip at the rear panel, and a crease along the front joint which is split 2.5 inches at the top end, and 1 inch at the bottom.

      [Bookseller: Burnside Rare Books]
 32.   Check availability:     IOBABooks     Link/Print  


        Xilografies Gironines.

      2 vols., 336, 326 pp. detailed scholarly catalogue of woodblock prints created in Girona, Spain, dating from the 17th through the 19th centuries, collected and used by, among others, the printing company Carreras, 880 illus. (some in color) throughout the text, incl. initials, motifs, symbols, borders, and vignettes, often of a religious nature. Lg. 4to. Dec. cloth. Girona (Gironella) 1948. One of 490 copies.

      [Bookseller: F.A. Bernett Books]
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        [Post-War Speeches:]

      London: Cassell and Company Ltd,, 1948?61. The Sinews of Peace; Europe Unite; In The Balance; Stemming The Tide; The Unwritten Alliance. Edited by Randolph S. Churchill. 5 volumes, octavo. Original varicoloured cloth, spines lettered in gilt or silver. With the dust jackets. An excellent set in bright jackets with the occasional minor nick or short closed tear. First editions, first impressions.

      [Bookseller: Peter Harrington]
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        Road Through the Wall, The

      New York Farrar, Straus 1948 First Edition of the author's first book. Small 8vo: [8],271,[1]pp. Publisher's coarsely woven tangerine cloth, spine lettered in white, pictorial dust jacket priced $2.75. Near Fine or better (lightly shelf-worn; pages toned, as usual; edges spotted) in a bright, about Fine jacket (flap edges slightly dust-soiled and browned). Near Fine

      [Bookseller: Fine Editions Ltd.]
 35.   Check availability:     Direct From Bookseller     Link/Print  


        1948 Henri Matisse Nice, Travail et Joie Mourlot Lithograph

      1948 - "Nice, Travail et Joie" by Henri Matisse, Unsigned Lithograph printed in 1948 from an edition size of 10000. The overall is size of the Lithograph is 39.25 x 25 inches. The condition of this piece has been graded as C: Several Signs of use and handling, some visible marks. Here is some supplemental information about the Lithograph: Lithograph in ten colors printed by Mourlot in 1948. The image was especially designed by Matisse to promote the city of Nice in the south of France. The edges are heavily worn. The image is slightly creased in some areas. [Attributes: Signed Copy]

      [Bookseller: Rare Posters]
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        Verzamelde werken.

      - Bussum/ Den Haag, Van Dishoeck/ Stols, 1948. Vier delen. Verguld heelperkament (bandstempels Helmut Salden). Deels onafgesneden. Koppen verguld. Onopengesneden. 264; 232; 224; 280 p. Gelijkgenummerde prachtset.* Eén van de 50 genummerde luxe-exemplaren op geschept papier van Van Gelder. Exemplaren in heelperkament zijn zeldzaam. Van Dijk 825.Bijgevoegd: G.H. 's-Gravesande, Over A. Roland Holst. Bij de uitgave van zijn Verzamelde werken. Bussum/ Den Haag, Van Dishoeck/ Stols, 1948. Geniet. 12 p. Met (ongebruikt) bestelbiljet.

      [Bookseller: Antiquariaat Fokas Holthuis ILAB]
 37.   Check availability:     ZVAB     Link/Print  


        The Second World War.

      London: Cassell & Co. Ltd.,, 1948?54. [The Gathering Storm; Their Finest Hour; The Grand Alliance; The Hinge of Fate; Closing the Ring; Triumph and Tragedy.] 6 volumes, octavo (206 x 136 mm). Contemporary fine binding by Maltby's of Oxford in red half morocco, twin blue-green morocco labels, raised bands with dotted rule gilt, compartments panelled in gilt, red cloth sides, top edges gilt, marbled endpapers. With diagrams and tables throughout the text. A fine set. First editions, first impressions, of Churchill's masterpiece, the single most important historical account of the Second World War. As Max Beloff observed, there was no statesman of the twentieth century "whose retrospective accounts of the great events in which he has taken part have so dominated subsequent historical thinking". A man who had always primarily made his living by his pen, Churchill was the only major war leader to give an authoritative account of the conflict, and his ringing phrases seeped into the collective memory. As J. H. Plumb noted: "Churchill the historian lies at the very heart of all historiography of the Second World War, and will always remain there? [we still] move down the broad avenues which he drove through war's confusion and complexity.

      [Bookseller: Peter Harrington]
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        Hollywood on Trial (First Edition, signed by every member of the Hollywood Ten)

      New York: Boni and Gaer, 1948. First Edition. First Edition. Signed by author Gordon Kahn and by each of the ten men indicted by the House Committee on Un-American Activities, known collectively to history as the "Hollywood Ten": Herbert Biberman, John Howard Lawson, Dalton Trumbo, Lester Cole, Samuel Ornitz, Adrian Scott, Edward Dmytryk, Albert Maltz, Ring Lardner Jr. and Alvah Bessie. One of the most ardent, important, and influential defenses of free speech ever to be published. By the screenwriter of "All Quiet on the Western Front "and "The African Queen," who was himself blacklisted after testifying in front of HUAC, an intensely personal and highly intelligent account of the proceeding which began in October of 1947. Included are transcriptions from the actual hearings with commentary and insight provided by Kahn and statements from numerous celebrities including Lucille Ball, Frank Sinatra, and Gene Kelly. The text ends with a quick biography of the ten men focused on by HUAC, listing their numerous writing and directing credits. In return for his efforts, Kahn was the target of harassment and denunciations by neighbors and "friends," and endured ongoing surveillance by the FBI until his death in 1962. Very Good plus in a Very Good plus dust jacket. Board edges rubbed. Jacket has minor chipping and a few short closed tears, with some light fading to the spine. In a custom clamshell box.

      [Bookseller: Royal Books, Inc.]
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        ROADS .

      Arkham House, Sauk City, Wisconsin 1948 - Octavo, illustrations by Virgil Finlay, cloth. First trade (and first hardcover) edition. 2137 copies printed. The author's first book (reprinting what is perhaps his best short story) first published in book form in 1938 as a paperbound Christmas booklet. Barron (ed), Fantasy and Horror (1999) 5-265. Barron (ed), Fantasy Literature 3-309. Bleiler, The Guide to Supernatural Fiction 1361. Cawthorn and Moorcock, Fantasy: The 100 Best Books 53. Tymn (ed), Horror Literature 4-192. A fine copy in a fine dust jacket with just a touch of rubbing to the black background ink. A sharp copy and uncommon in this condition. [Attributes: First Edition; Hard Cover]

      [Bookseller: Currey, L.W. Inc. ABAA/ILAB]
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        Other Voices, Other Rooms

      Random House, 1948 A near fine copy in a near fine dust jacket. First Printing stated on the copyright page. Has original printed price of $2.75 on the front flap of the dust jacket. A small bookseller's sticker is affixed to the front free endpaper. Negligible edgewear. One very small water spot on the top edge. Some darkening to gutters and foxing t rear paste-down. Dust jacket has a very small amount of rubbing at one corner and spine end; else fine. Comes housed in a custom slipcase.. 1st Edition. Hardcover. Near Fine/Near Fine.

      [Bookseller: Bookbid Rare Books]
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        Other VOICES Other ROOMS

      Other Voices, Other Rooms Truman CapotePublished by Random House (1948) Book Condition: Very Good/Dust Jacket Very Good+*SIGNED on title page*1st Edition/1st PrintingBook has some minor flaws but overall an excellent and very rare addition for that special library. 1] Some minor edge chipping to dust jacket but no major DJ flaws2] Lite spotting to top block3] Lite damp stain apparent to lower portion of book board,rear paste down and rear blank page4] Some darkening to front paste down and first blank page from insertion of newspaper clipping of the Capote signingPlease check all of our pictures. Dust jacket now enclosed in new clear Mylar protectorBut all in all an extremely nice copy of this rare signed and relatively fragile 67 year old book.Absolutely no odor ! Rarity of book is increased because I don't believe Capote signed his books on the title page very often ? Board corners are all nice sharp and undamaged..Capote's first book with his controversial, extravagant pose for the rear dust jacket..Truman Capote was a happening, a cultural event, a whirlwind seldom seen to appear on the American landscape..Great piece of history and Americana here..

      [Bookseller: Mason Fine Books]
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        Crusade in Europe.

      Garden City, NY: Doubleday & Company, 1948. Signed limited first edition. Thick octavo, original cloth, cartographic endpapers, top edge gilt, original acetate. Signed by Dwight D. Eisenhower, number 299 of 14556 copies. Fine in the original acetate, which is in fine condition. Original slipcase in near fine condition with light rubbing. A very sharp example. Five-star General Dwight D. Eisenhower was arguably the single most important military figure of World War II. For many historians, his memoirs of this eventful period of U.S. history have become the single most important record of the war. Crusade in Europe tells the complete story of the war as Eisenhower planned and lived it. Through his eyes, the enormous scope and drama of the war-strategy, battles, moments of fateful decision-become fully illuminated in all their fateful glory. "Eisenhower gives the reader true insight into the most difficult part of a commander's life" (New York Times).

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        Joan of Arc [Joan of Lorraine] (Original screenplay for the 1948 film)

      Culver City, CA: Sierra Pictures / RKO Radio Pictures, 1948. Draft script for the 1948 film, "Joan of Arc," here under its working title, "Joan of Lorraine." Original scripts from Fleming's films rarely are seen on the market. Based on Maxwell Anderson's play, "Joan of Lorraine." Anderson's play debuted on Broadway in 1946, ran for 199 performances at the Alvin Theatre, and closed in 1947. Ingrid Bergman, who stars as Joan in the film, also starred in the play, and won the 1947 Tony Award for Best Actress in a Play. The film won three Academy Awards. Director Victor Fleming's final film, featuring Bergman as Joan of Arc, the 15th-century French peasant girl who led the French in battle against the invading English. Bergman portrays the martyr as a strong and spiritual figure who proves her devotion to the Dauphin (Jose Ferrer), later to become the King of France. She wins an alliance with the Governor of Vaucouleurs and the courtiers at Chinon, leads her army in the Battle of Orleans, is betrayed by the Burgundians. Joan was captured, tortured, and ultimately executed by the English, and was later made a Catholic saint. Set in the village of Domremy, shot on location in California. Tan titled wrappers. Distribution page present, undated, with receipt removed, noted as copy No. 400. Title page integral with distribution page. 163 leaves, with last leaf of text numbered 158. Mimeograph. Pages Near Fine, wrapper Very Good plus, bound internally with two gold brads.

      [Bookseller: Royal Books, Inc.]
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