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

        HOMERIC HYMN TO APHRODITE.|THE

      The Golden Cockerel Press, (London, England) 1948 - 4to. full red leather, covers and spine gilt-stamped, top edge gilt, other edges uncut, two raised bands on spine, slipcase. 35+(1) pages. Limited to 750 numbered copies of which this is one of 100 specially bound, numbered copies, signed by the translator on colophon (Cave and Manson 177.1). Translated from the Greek by F.L. Lucas. Ten engravings, including frontispiece, by Mark Severin. With introduction and endnotes (Horne 388-9). Bound by S. & S. of London (Sangorski and Sutcliffe). Slipcase scuffed at corners. full red leather, covers and spine gilt-stamped, top edge gilt, other edges uncut, two raised bands on spine, slipcase [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Oak Knoll Books, ABAA, ILAB]
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        Novellen Mit Zeichnungen von Anny Schröder

      Alster, Wedel in Holstein 1948 - Einband bestossen und berieben, Einbandrücken Oberfläche etwas eingerissen, Vorsatz mit Widmung, Seiten altersbedingt nachgedunkelt, Buchblock sauber und fest - in Fraktur Deutsch 410 pages. 8 [Attributes: Hard Cover]

      [Bookseller: Der Bücherhof]
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        Raintree County

      Boston, Ma: Houghton Mifflin Company, 1948 Later Printing. Signed By The Author On The Half-Title Page. No Other Marks Or Writing. Hint Of A Bump To The Lower Back Corner. Spine Ends A Little Wrinkled. The Jacket Has A Few Chips And Tears. The Top Edge, Corners And Spine Ends Have Been Reinforced With Clear Tape. Small Area A The Front Spine Fold Has Also Been Taped. Price Clipped.

      [Bookseller: Granada Bookstore]
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        Come Vi Piace (As You Like It)

      Rome: Galleria Dell'Obelisco / Carlo Bestetti, 1948. Softbound. Good+, moderate soiling or age toning to covers, some sheets. Illustrated cardstock wraps. 11 pp. ads, frontice (drawing by Dali), title page, 3 sheets followed by 4 cardboard mounted color plates, followed by 2 sheets, followed by 4 cardboard mounted color plates, followed by 4 sheets. Dali traveled to Port Lligat in 1948 to begin work on the costumes and set designs for this play, as well as a play by Richard Strauss. The 8 color plates in this are in VG condition, one having a tiny crease in one corner, and the first having come loose from it's mounting. Dalie also did the designs for the front and rear covers, as well as numerous vignettes for the text pages. Overall a tight fresh copy of a very rare item.

      [Bookseller: Mullen Books, Inc. ABAA / ILAB]
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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). - 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 in [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        The Second World War

      London: Cassell & Co. FIRST EDITIONS. Hardcover. Fine. FIRST ENGLISH EDITIONS of Churchill's most important work in fine leather bindings. "In order to write The Second World War Churchill assembled a team of researchers under the leadership of his pre-war assistant, the Oxford historian William Deakin. Churchill and his team enjoyed the full co-operation of the cabinet secretary, Norman Brook, who gave them almost unlimited access to wartime files. In return Churchill submitted drafts of the book to be vetted by Whitehall, thus turning it into a semi-official history. His method was to have all the relevant documents set up in galley proof so that he could then insert linking passages or narratives of events. The tone and structure of the final text were unmistakably Churchillian, and so too were his personal recollections ... Appearing in six volumes between 1948 and 1954, The Second World War was published in hardback in fifteen countries and translated into eleven languages. It was not history, Churchill insisted, but a contribution to history. Nevertheless he imprinted his version of events on the minds of a generation" (Oxford Dictionary of National Biography). The Second World War: The Gathering Storm; Their Finest Hour; The Grand Alliance; The Hinge of Fate; Closing the Ring; Triumph and Tragedy. London: Cassell & Co., Ltd., 1948-54. Octavo, modern three-quarter red polished calf, decorated spines with gilt lion devices, raised bands, top edges gilt. Six volumes. Fine condition, very handsomely bound.

      [Bookseller: The Manhattan Rare Book Company]
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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 collector grade, 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 more scarce than ChurchillÂ’s War Speeches volumes; all five of these books had only a single printing each. Moreover, 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 offered here are fine volumes in jackets ranging from fine to near fine. All five cloth bindings are clean, tight, and square with sharp corners and virtually no wear. The contents of all five volumes are uniformly clean and tight. We find no spotting in the set apart from a trivial handful of spots to the page edges and endpapers of Europe Unite. The sole previous ownership mark in the set is a single 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.) Modest age-toning to page edges is the only sign of age for most of the contents. 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. Please note that Stemming the Tide has the more desirable and elusive first state dust jacket. Stemming the Tide is a particularly impressive example, with only incidental wear spine head and corners. 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 excellent spine presentation, none of the typical orange streaks, no losses, and virtually no wear. We note some spotting to the rear face of the otherwise exceptionally bright Europe Unite dust jacket and a little wear to the spine heads and corners of In the Balance and The Sinews of Peace with a .5 closed tear at the upper edge of the In the Balance front face. The dust jackets are protected in removable, archival quality clear covers. 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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        Anna Blume. Dichtungen.

      Hannover, Paul Steegemann, 1919. 8° 37 + 3 S. Ill. OBrosch. EA. WG II, 1. Umschlaggestaltung von Kurt Schwitters. - Die Silbergäule Bd. 39/40. - Letztes unnummerierte Blatt mit einer centgroßen Fehlstelle, sonst tadellos. Versand D: 7,00 EUR

      [Bookseller: Antiquariat Weinek]
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        Life, Letters, and Literary Remains, of John Keats

      George P. Putnam, N . Y. 1948 - RARE--------The rust colored hard cover is getting loose from the pages.The first few pages are loose and the rest are pretty tight which has been glued.The pages has light yellowing with moisture stains.Most of the stain are in the margin of the pages.The hard cover has most of it's wear to the top and bottom of the spine.Check out our books on tape.We ship everyday or next day.We are very careful when we list our books, but sometimes something minor may get by. [Attributes: Hard Cover]

      [Bookseller: Add-More Books]
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        Opera Omnia. Secundum impressionem Petri Fiaccadori Parmae 1852 - 1873. Photolithographice reimpressa. Cum nova introductione generali anglice scripta a Vernon J. Bourke. (Parma edition)

      New York, Musurgia Publishers, 1948. - 1949. 25 volumes in 26 bindings. Blue cloth, gilt. Together over 14000 pages. - Complete set. Very scarce. (library tickets, stamps, cloth rubbed, cloth vol. 1 and 25 dam. at hinges) Although still good set, see picture. According to J.P. Torrell (standardbiography) and G. Emery (standardbibliography) there are three main editions of the works of Thomas Aquinas: Léonine (1892-, not completed; 28 volumes), Parma (1852-1873; (reprinted 1948) this one; 25 volumes) and Vives (34 volumes).

      [Bookseller: Boekhandel - Antiquariaat Emile Kerssema]
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        122 Farvefotografier. 122 Colour Photographs. INSCRIBED by Keld Helmer-Petersen.

      Copenhagen: Schoenberg, 1948. Large 4to. Original grey hardcover boards including a well preserved jacket and the original slipcase. Jacket with only minimal edgewear, a small tear to edge with a tiny piece of jacket edge missing - the best copy I have seen. Text in both Danish and English.. First edition, first impression. Signed on the front free endpaper by Keld Helmer-Petersen - inscribed by k. Helmer-Petersen . One of the first color photobooks prefiguring the work of William Eggleston and Stephen Shore by nearly three decades and a major classic. Very hard to find. Parr & Badger I, 202-3. Very attractive outstanding copy with a very well preserved dustjacket in the original slipcase. More pictures upon request

      [Bookseller: Kirkegaards Antikvariat]
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        The Second World War, full set of six British first editions

      London: Cassell and Company, Ltd., 1948. First edition, first printing. Hardcover. This 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 seminal, 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 has imperfections, but is nonetheless better than most, a full set of British first editions featuring very good or better first printing volumes in very good dust jackets. The black cloth bindings are square, clean, and tight with bright spine gilt. We find no previous ownership marks and spotting appears almost entirely confined to the page edges. The red topstain varies across the volumes, significantly faded on Volume I, dark pink on Volumes II-V, and unfaded on Volume VI. The dust jackets are complete with no losses and retain the original front flap prices. Light wear is limited to spine ends and corners. We note some moderate differential toning to the jacket spines, with all of the red subtitles still legible. The 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]
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        [PAINTING ON PANEL OF ROMAN NOSE, THE FAMOUS CHEYENNE WARRIOR, IN THE FULL BATTLE REGALIA OF THE ELK SOLDIERS]

      [Philadelphia, 1948. In fine condition, in a burnished gilt wood frame. This remarkable painting by the well-known artist and illustrator, Robert Riggs, depicts famous Cheyenne warrior Roman Nose in battle, dressed in the full regalia of the Elk Soldier warrior society. A dramatic, powerful image, it is one of a handful of paintings by Riggs. Robert Riggs (1896-1970) was in his heyday one of the best-known artists and illustrators in the United States. After studies at the Art Students League and service during World War I, Riggs settled in Philadelphia, his home base for the rest of his life. In the 1930s and '40s he rose to national prominence as an illustrator, lithographer, and commercial artist, producing well-known images of boxers and circuses (two life-long obsessions), and of soldiers during World War II. In 1940, around the peak of his career as an illustrator, his drawings commanded $750-$1500 each, and his name was as well-known in the trade as that of Norman Rockwell. But Riggs loathed this commercial work, and after 1950 he slid increasingly into obscurity, although revered by those who knew him in the Philadelphia art world. When he died in 1970, he was almost forgotten. Riggs was never comfortable working in oils or watercolor, preferring dry mediums such as pencil and charcoal. For the few large paintings he created, he employed a technique of blending dry pigments with mastic varnish and alcohol, working on panels he had especially manufactured for his use. This technique, which creates a surface similar to the look of egg tempera, adds to the extraordinary character of Riggs' major compositions. Riggs had a particular fascination with American Indians. In his days of affluence during the Depression and World War II, he formed a major collection of American Indian artifacts. According to his biographer, he owned "an odd and unsettling collection of American Indian artifacts...He was a serious and widely read amateur anthropologist, whose hobby, an expensive one into which he happily poured much of his substantial income...was guided in part by Frank N. Speck of the University of Pennsylvania, a friend who was perhaps the foremost authority then on Indians of the Northeast." This collection played an important part in the creation of the present painting, and particular artifacts depicted are probably based on items in his collection. For example, Riggs owned several of the grisly "finger necklaces" of dried human fingers, one of which Roman Nose wears in the painting. Riggs clearly went to great lengths to make the finely realized details of his painting completely accurate. His own collections and his friendship with Speck aided him in this (Riggs did small drawings of artifacts for several of Speck's publications). Thus, such apparently bizarre details as Roman Nose's body paint are based on Riggs' understanding of the Elk Soldier war regalia, and he has faithfully reproduced what is known of Roman Nose's headdress, which supposedly had magical powers to ward off arrows and bullets. At the same time, the distortions of scale and perspective typical of Riggs' flamboyant paintings are fully in evidence. Roman Nose, a celebrated Northern Cheyenne warrior, was an apt subject for Riggs' heroic portrait. According to the ANB, "His contemporaries described [Roman Nose] as being over six feet in height and possessing great physical powers. A man of fine character, quiet and self- contained, he was held in high esteem by all the Cheyennes...and was so renowned among whites that they credited him with being a leader in a number of engagements in which he did not participate." He became active in fighting against whites only after the Sand Creek Massacre of 1864, most notably the Platte Bridge fight in 1865, along Powder River the same year, and in harassing railroad construction in 1866 and 1867. Refusing to participate in the Medicine Lodge peace treaties of the latter year, he led raids in Colorado in 1868. In the famous Battle of Beecher Island that September, his protective headdress rendered useless by violating a taboo against eating food prepared with metal, he led a fatal charge in which he was killed. Riggs may be depicting any of the engagements of these three bloody years in this painting. His purpose seems more to show Roman Nose as a mythic warrior figure than to document a specific event. Riggs created only a handful of major paintings, and they have seldom appeared on the market. The only recent auction sale of a work of similar size and scope was his 1938 painting of the Joe Lewis-Max Schmeling fight, which realized $277,500 at Sotheby's in 1999. An extraordinary and dramatic painting.

      [Bookseller: William Reese Company - Americana]
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        Songs

      NP: ND (1948). 171pp - NP: ND (1948). 171pp. The first appearance in English of Botto's celebrated work, translated by his friend Fernando Pessoa in 1933, but first published in this edition. Botto had moved to Brazil in 1947 and attempted to support himself with his writings, but struggled financially. He may have financed the production of the book himself, as it bears no indication of a publisher. Warmly inscribed by Botto to Francisco Luiz Ribiero "O Poeta mais concreto de Sao Paulo, o maior e o mais verdadeiro, apesar dos seus poemas serem poucos." There is no indication of the size of this printing, but it was undoubtedly small and the book is quite rare (despite Botto's amusing notation that this is copy 12527.) There are several simple line drawings illustrating the text, including the frontispiece, which appear to be by Almada Negreiros. Very good in original lightly spotted wrappers. Inscribed on the endpaper by the author to Francisco Enrique Lopez. Light spotting to endpapers, but a very good copy otherwise. Rare. [Attributes: First Edition; Soft Cover]

      [Bookseller: Elysium Books]
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        Paul Nash: Painting, Drawings and Illlustrations.

      London: Lund Humphries,, 1948. With Essays by Herbert Read, John Rothenstein, E. H. Ramsden, Philip James. Quarto. Original green cloth, white lettered spine, Nash's monogram in white on front cover. With the dust jacket. Monochrome portrait frontispiece, 20 colour plates tipped to grey paper sheets, 112 monochrome plates. An excellent copy. First edition, first impression. A handsomely produced book, particularly considering wartime exigencies still in force, and intended as a memorial volume (Nash had died in July of 1946) "based on a project designed by the artist shortly before his death" (jacket blurb).

      [Bookseller: Peter Harrington]
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        Paul Nash: Painting, Drawings and Illlustrations. With Essays by Herbert Read, John Rothenstein, E. H. Ramsden, Philip James.

      London: Lund Humphries, 1948 - Quarto. Original green cloth, white lettered spine, Nash's monogram in white on front cover. With the dust jacket. An excellent copy. Monochrome portrait frontispiece, 20 colour plates tipped to grey paper sheets, 112 monochrome plates. First edition, first impression. A handsomely produced book, particularly considering wartime exigencies still in force, and intended as a memorial volume (Nash had died in July of 1946) "based on a project designed by the artist shortly before his death" (jacket blurb). [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Acta Physica Austriaca. Unter Mitwirkung der Akademie der Wissenschaften herausgegeben von K. W. Kohlrausch und Hans Thirring.

      Wien, Springer, 1948-1977. - ISSN: 0001-6713. Titel rückseitig gestempelt. Sprache: Deutsch Gewicht in Gramm: 40000 8°. Leinen- und Halbleineneinbände.

      [Bookseller: Antiquariat Trageser]
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        Albumblatt I", hs.signierter und datierter O.Farbholzschnitt

      1948 - Fürst 48/4, 35,7 x 28cm (Blattgröße) *1909 Rot - 1981 Eningen, Blatt materialbedingt etwas gebräunt, dürfte ohne Bildverlust beschnitten sein, äusserst selten angeboten

      [Bookseller: Jürgen Noffz]
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        Histoires sanglantes

      L.U.F. (Librairie Universelle de France) Egloff, 30, rue de l'Université, Paris, Paris 1948 - [Nouvelles]. Nouvelle édition, revue. 1/45 premiers exemplaires sur Vélin pur fil Johannot, dont 10 exemplaires hors commerce marqués H.C., et 35 exemplaires numérotés de I à XXXV, tous signés par l'auteur. [I]. [Bibliographie des auteurs modernes de langue française (1801-1949) ; Talvart et Place X ; 192 ; 27B]. Table : HISTOIRES SANGLANTES. La Fiancée (p.9). Trois gants (p.31). Dans une maison (p.37). Sourire (p.45). Le rouge (p.51). Ah bien sombre (p.55). Le cabinet de toilette tragique (p.61). Les allées (p.69). Gribouille (p.73). Les rois russes (p.85). Le château (p.105). LA SCÈNE CAPITALE. La victime (p.117). Dans les années profondes (p.197). " J'avais fait emplette d'une robe noire. Le noir est toujours mon préféré. J'avais acheté une robe noire garnie de biais rouge, et un chapeau noir garni d'une fleur rouge. Le chapeau allait avec la robe. La robe avait un boléro et une longue traîne, elle me donnait une taille de guêpe, et le chapeau avançait sur les yeux. C'était presque le même noir et tout à fait le même rouge pour la robe et pour le chapeau. Le biais de la robe était rouge, un rouge éclatant. La fleur du chapeau était une rose. Et ainsi habillée sur mon trente-et-un, j'allai dans les rues où il passe beaucoup de monde l'après-midi devant les magasins. En passant près d'un magasin, une glace. Avec empressement je me regarde. C'est pratique, me dis-je : la glace allait jusqu'au trottoir. Je me regarde et tourne en tous les sens afin de voir si tout allait bien. Tout à fait bien ! me dis-je, mais. Surprise ! Quelque chose dépassait. Ce n'était pas grand chose si vous voulez, mais il ne faut pas que rien dépasse. Quelque chose dépassait, et tombait, quoi ? - mon pantalon. Ne plus bouger serait trop bête, sans préjugé aucun je me baisse et retire ce pantalon. Pour ramasser le petit objet, et le moins de scandale possible, je le pliai comme un mouchoir, et immédiatement je le portai à mon visage attendu que je saignais du nez. Le sang entré dans le pantalon, justement j'entends quelqu'un qui parle de moi par derrière. J'entends quelqu'un dire : Eh bien elle a du rouge partout ! Quelle parole malsonnante ! Avec rapidité je me retourne. En me retournant je dis simplement : " Non, j'ai oublié d'en mettre aux lèvres. " (Pierre Jean Jouve, Histoires sanglantes, Le rouge, p. 53-54) [Histoires sanglantes a été achevé d'imprimer sur les presses de l'Atelier d'Art Graphique, pour la Librairie Universelle de France, 30, rue de l'Université, Paris, le 3 avril 1948. N° édit.37 - Dépôt légal 2e trim. 1948 - N° imp.34] Demi-maroquin rouge à coins bordés de filets dorés, dos à cinq nerfs bordés de filets à froid, date en queue de dos, tête et tranches dorées, couverture et dos conservés, étui bordé de même (D. Saporito). [Attributes: Soft Cover]

      [Bookseller: Librairie Erwan de Kerangué]
 19.   Check availability:     IberLibro     Link/Print  


        Camera in London

      London: The Focal Press,, 1948. 2 copies, small quarto. Case-bound issue: Original white boards, titles to front cover and spine in yellow. With the dust jacket. Wrappered issue: Original pictorial wrappers, titles to spine and front cover black and white. Illustrated with monochrome photographic reproductions. Case-bound issue: Board edges and contents mildly toned, extremities rubbed; an excellent copy in the jacket with creased and nicked extremities. Wrappered issue: Covers creased, spine ends worn and slightly split, text block tight, tips a little worn and endpapers toned. First editions, first impressions, both issues (the preferred case-bound issue and the wrappered issue). The wrappered issue is a presentation copy, inscribed by the author on the title page, "To Julia Trevelyan Oman, from Bill Brandt", and with her bookplate to the front free endpaper. Oman was one of the most celebrated theatre, television, ballet and opera designers of the second half of the 20th century.

      [Bookseller: Peter Harrington]
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        André Breton EDITION ORIGINALE Grand papier

      Paris: José Corti, 1948. Fine. José Corti, Paris 1948, 12x19cm, broché. - First Edition, one of 50 numbered copies on "pur-fil" paper only leading copies after 20 Marais. Frontispiece, a portrait of André Breton by Hans Bellmer. Two tiny and discreet restorations foot back, nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 50 exemplaires numérotés sur pur fil, seuls grands papiers après 20 Marais. En frontispice, un portrait de André Breton par Hans Bellmer. Deux infimes et discrètes restaurations en pied du dos, agréable exemplaire.

      [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. Hardback. 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]
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        Joseph und seine Brüder., Erster Band (von 3): Die Geschichten Jaakobs / Der junge Joseph.

      Stockholm, Bermann-Fischer Verlag, 1948,. - 737(4) S., OLeinen m. OU. Auf dem Vorsatz von Mann signiert. Erste Auflage der Stockholmer Gesamtausgabe. Gutes Exemplar. Umschlag auf der Rückseite mit Randläsuren und vorne mit Einriss. Selten. Potempa A 4. Good copy. Handsigned by the author. Nobelpreis für Literatur 1929. Very rare. Sprache: Deutsch Gewicht in Gramm: 1000 [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Uta-Janine Störmer]
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        Brief mit eigenh. U.

      Buenos Aires, 15. Mai 1948. - 1 S. Qu.-gr.-8vo. Gelocht. Mit gedr. Briefkopf. An Dr. Ramon Cereijo in dritter Person, bei dem sie sich für eine Spende bedankt: „Eva Perón saluda attentamente a S.E. el senor Ministro de Hacienda, Doctor Ramon A. Cereijo y se complace en acompanarle giro postal no. 488,132 por la suma de m$n. 100.- (CIEN PESOS MONEDA NACIONAL), provenientes de la donación efectuada por el senor Emilio Remolina y senora, con destino a la Cruenta Especial ‘Ministerio de hacienda-Obras de Ayuda Social. [ ]".

      [Bookseller: Kotte Autographs GmbH]
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        Oeuvres complètes - 15 volumes

      Flammmarion, Le Fleuron 1948 - Flammarion, Le Fleuron, 1948-1950, Paris, 1948. Œuvres complètes en 15 volumes. Edition numérotée 3151/5500 ; volumes imprimés sur vergé des papeteries de Guyenne. Reliure postérieure demi basane havane, dos à 2 fois 2 nerfs, encadrement des titres et tomaisons dorés ; couvertures d'origine conservées. Tome 1: Claudine à l'école ; Claudine à Paris (458 pages). Tome 2 : Claudine en ménage ; Claudine s'en va ; La retraite sentimentale (483 pages). Tome 3 : L'ingénue libertine ; Les vrilles de la vigne ; Douze dialogues de bêtes, autre bêtes (454 pages). Tome 4 : La vagabonde ; L'entrave ; Dans la foule (469 pages). Tome 5 : L'envers du music-hall ; Mitsou ; La paix chez les bêtes ; Les heures longues ; La chambre éclairée (447 pages) Tome 6 : Chéri ; Le voyage égoïste ; Aventures quotidiennes (480 pages). Tome 7 : La maison de Claudine ; Sido ; Noces ; Le blé en herbe ; La femme cachée (474 pages). Tome 8 : La naissance du jour ; La seconde ; Prisons et paradis ; Nudité (451 pages). Tome 9 : Le pur et l'impur ; La chatte ; Duo ; Le toutounier, Belles saisons (472 pages). Tome 10 : La jumelle noire ; Critique dramatique (546 pages). Tome 11 : Mes apprentissages ; Bella-Vista ; Chambre d'hôtel ; Julie de Carneilhan (547 pages). Tome 12 : Journal à rebours ; Le képi ; De ma fenêtre ; Trois, six, neuf (477 pages). Tome 13 : Gigi ; L'étoile vesper ; Mes cahiers ; Discours de réception (465 pages). Tome 14 : Le fanal bleu ; Pour un herbier ; Trait pour trait ; Journal intermittent ; La fleur de l'âge ; En pays connu ; A portée de la main (485 pages). Tome 15 : Théâtre ; Chéri ; La vagabonde ; En camarades ; La décapitée ; L'enfant et les sortilèges ; Mélanges ; Bibliographie (415 pages). L'ensemble est parfaitement conservé et en très bon état. [Attributes: Hard Cover]

      [Bookseller: Librairie Quillet]
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        Konvolut von 7 Original-Photographien u.a. vom berühmten Frueh,House, Highland Park, Ill., USA.

      wohl Chicago, o. J. (ev. um 1948 - 7 Original-Photographie (gelatin silver photograph) Format ca. 20,9x25,5 cm. 7 schwarzweiße Ansichts-Photographien des berühmten Frueh-House und einem Haus in der Dunes Gegend bei Indiana in der Nähe von Chicago. Ein Photo verso mit Photostudiostempel: IDAKA, Chicago. Vereinzelt minimal randgebräunt, ganz vereinzelt an den Rändern nach innen gebogen, insg. aber in guter Erhaltung. - Das berühmte Frueh-House wurde von Robert Bruce Tague (1912-1985) für die Familie Erne und Florence Frueh 1948 in 145 Oak Knoll Terrace in Highland Park, Illinois erbaut. - Tague machte 1930 seinen Abschluß in Architektur am Chicago`s Armour Institute of Technology. Er arbeitete für Keck und lehrte am Neuen Bauhaus in Chicago (Institute of Design). Später war er Partner von Tristan Meinecke. - Robert Bruce Tague was born in 1912 in Chicago. He earned his undergraduate degree in architecture at Chicago`s Armour Institute of Technology in 1930 and accepted a post-graduate scholarship on the condition that he could produce his thesis under the direction of George Fred Keck, one of the few architects then designing in the International Style vocabulary. Subsequently he worked for Keck off and on for twenty years while teaching at the new Bauhaus in Chicago, known as the Institute of Design. Tague was an associate of Crombie Taylor`s in restoring the landmark Auditorium Theater in Chicago, and was later a partner of Tristan Meinecke. Tague was an advocate of contemporary design throughout his career. - Mit einigen Zeitungsausschnittbeilagen amerikanischer und deutscher Architekturzeitungen zum Thema!

      [Bookseller: Antiquariat Riepenhausen]
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        The Diaries of Franz Kafka. 1910–1923.

      London: Secker & Warburg,, 1948. Edited by Max Brod. Translated by Joseph Kresh. 2 volumes, octavo. Original blue cloth, titles to spines gilt, top edges yellow. With the dust jackets. Spines lightly faded. An excellent set in toned jackets. First UK Edition, first impression. This translation was originally published in the US the preceding year.

      [Bookseller: Peter Harrington]
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        Cent dessins de Pierre Loti commentés par Claude Farrère

      Arrault 1948 - - Arrault, Tours 1948, 21,5x28,5cm, broché. - Edition originale, un des 100 exemplaires numérotés en chiffres romains sur vélin de luxe. Notre exemplaire, ainsi qu'il l'est stipulé à la justification du tirage, est bien complet de la suite de 8 des illustrations. Texte de Claude Farrère. Infimes piqûres sans gravité sur le second plat, dos très légèrement insolé, agréable état intérieur. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition, one of 100 numbered with Roman numerals on luxury vellum. Our copy, as it is stated in the justification of the draw is complete after 8 illustrations. Claude Farrère text. Tiny bites minor on the second flat back slightly insolated, nice interior state. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Raissa Oumansoff Maritain: Chagall ou l'orage enchanté. Inscribed with a sketch by Chagall, depicting a pensive artist figure.

      Geneva & Paris, Trois Collines, 1948. - Small 4to. Plates and illustrations. Original green printed wrappers. Addendum. The inscription reads, "Pour Jacques, Marc Chagall, 1949". - Wrappers chipped at head and tail of spine; together with a second uninscribed copy. [Attributes: Soft Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        La paix EDITION ORIGINALE Tirage de tête

      Paris: La table ronde, 1948. Fine. La table ronde, Paris 1948, 12x19cm, broché. - First edition of the French translation, one of 18 numbered copies on pure yarn, leading copy.spine and slightly flat and marginally imaged without gravity. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale de la traduction française, un des 18 exemplaires numérotés sur pur fil, tirage de tête. Dos et plats légèrement et marginalement insolés sans gravité.

      [Bookseller: Librairie Le Feu Follet]
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        Typed letter signed (with initials).

      N. p., 29. XI. 1948. - Large 4to. 1½ pp. on 2 pp. To Stalin about the current tax revenue by the agricultural tax: "[.] Ukazom Prezidiuma Verkhovnogo Soveta Soyuza SSR ot 13 iyunya 1948 goda byli vneseny izmeneniya v otdelnye stati zakona o selskokhozyaystvennom naloge. V rezultate proizvedennogo oblozheniya, summa selskokhozyaystvennogo naloga na Ukraine vyrosla protiv proshlogo goda na 641 mln. rubley i sostavlyaet v tekushchem godu 2101 mln. rubley. Vnesenie izmeneniy v otdelnye stati zakona o selskokhozyaystvennom naloge partiynye i sovetskie organy Ukrainy vosprinyali kak ukazanie na neobkhodimost udelit bolshe vnimaniya delu mobililzatsii sredstv naseleniya i uluchshit organizatsiyu uplaty naloga. Vpervye selskokhozyaystvennyy nolog dosrochno vypolnyaetsya v razmere godovogo zadaniya v tselom po oblastyam i respublike. Na Vashe imya uzhe postupili raporty o dosrochnom vnesenii selkhoznaloga v razmere godovogo zadaniya ot Voroshilovgradskoy, Stalinskoy, Izamailskoy, Chernovitskoy i Zakarpatskoy oblastey, a ryad oblastey zakanchivayut vypolnenie godovogo zadaniya v blizhayshie dni. V tselom po Ukraine godovoe zadanie na 28 noyabrya vypolneno na 87,4 %. Prosim Vashego razresheniya na opublikovanie v presse raportov oblastey na Vashe imya o vypolnenii imi selkhozyaystvennogo naloga [.]". - Left margin with punched holes (small defects).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Selected Poems.

      London: John Murray,, 1948. Chosen with a Preface by John Sparrow. Octavo. Original yellow cloth, titles to spine gilt, marbled endpapers, top edge gilt, others uncut. Spine a little sunned, a few marks to boards. An excellent copy, internally fine. First edition, signed limited edition. Number 8 of 18 copies, specially bound and printed on very fine japon vellum, and signed by the author. From the libraries of the publisher, bibliographer and novelist Michael Sadleir (1888?-1957) and, latterly, the scholar and auctioneer Anthony Hobson (1921?-2014), with their bookplates to the front pastedown.

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


        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) [Attributes: First Edition; Hard Cover]

      [Bookseller: Dan Wyman Books, LLC]
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        Sade et Restif de la Bretonne Tapuscrit avec de nombreux ajouts autographe EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l. : S.n., 1948. Fine. S.n., s.l. 1948, 50 feuillets (21x27cm); 3 feuillets in-8 (12x22cm), un feuillet 13,5x10,5cm; 17 feuillets in-4 (21x27cm). - First new version of the autograph manuscript of 17 pages, written in 1935. Manuscript writing very dense, full excluding the last 13 lines of printed text, with many erasures, corrections and additions. Complete typescript with a few variations from the manuscript and a copy of the first edition published in 1947 and finally published in 1950 is attached. In 1935, Blanchot has been working for 3 years on Thomas the Obscure (he completed in 1940) when interrupts his writing "that would not stop" to write the last word, a short story he describes as "an attempt to bypass another book underway to overcome the interminable and get a more linear narrative, yet painfully complex, a silent decision ... ". In 1983, Blanchot, referring to the motivations of this "innocent text where murderers omens of future time resounded," can not say "how it is written and how unknown requirement, it has the answer." "It was not a text for publication," he says in the afterword of hindsight. The last word will indeed published 12 years later in 550 copies in the collection golden age (although it went bankrupt at the same time, the book will be on sale in 1950) . So the first story is meant at once the last word and the refusal of its unveiling. "Surely begin to write immediately to achieve at the end (...), this means at least hope not to make a career and finding the shortest path to finish early." In this "Apocalypse" Blanchot leads his own novel being written: Thomas, the hero, and is ironically called the new power otherwise without express "what happened to him [that] saying nothing happened ". But if, starting with the last word, Blanchot marks the end of writing, it is an end that remains unpublished. And when the book is finally published, it will be more of a work already substantial: Thomas the Obscure, Amminadab, Faux pas, the Most High, Death Sentence and The Share of fire. Therefore, the last word is not "waiver be Master and Judge," but a written waiver of this "itself in vain." It can no longer be "the unusual resolution to deprive [Language] to support (...) that is to say more than language" but, as part of the work, there is a "word to say and do not say. ". A word rewritten by the writer he became transformed by writing and by war. This is the inaugural version, first draft of thirty young Blanchot, we present here and C. Bident his biographer, thought "probably never know." Narrative foundation, basic writing, many scholars have studied the last man, "painfully complicated" as even the author, but who calls a few "prophetic" pages a reflection on language (and, through him, totalitarianism) marking the second part of the century. Now we present the manuscript written in 1935 and until then unknown, differs considerably from the following two versions of 1947 and 1983. Written in the third person (the later will they, homodiégétiques) the story is much longer. It contains descriptions and including many deleted scenes that will be removed in the published versions: "The sun bathed [plaza] a fiery light of huge mirrors, placed at the four corners, be kicked around in a maze of colors . "" A cloud was soon raised to the ceiling, black cloud crossed by small glowing patches. "" I am worried, he said. I was wrong to leave earlier this house when I get home, surrounded by torches are extinguished one by one. What will I find now? How to live without I guideline? Can you tell me anything? "" Some children, head blackened coal, removed the sand in which they were buried, and trying to achieve with small white stones they drew from their pocket, they reviled in their incomprehensible language. "" Taking advantage of the lull, dogs out of their hole, as if they had been secretly excited by a master, they rushed to the sleeper by pulling on their links. They tried to right, left, then discovering it under the covers, they are slipped badly, small first, then the big dog, like a vicious bunch of kids. "" The intoxication of being together having lost younger pushed them into their own home as if she had ceased to be theirs, and they threw screams waking intruders from their homes. "But this manuscript provides the exegete especially demonstrative few passages that provide clarification on the meaning of the story:" Until is not an indifferent manner to the past and the future. If it is intended to extend a veil over what approach, if a link between, by mutual repulsion, separate time moments it appears from something, something else is not shown, however, that such limit. "" They whom nothing was forbidden to speak and who knew, behaved as if their knowledge had been to break with the language. "" The disciple on this admission, redoubled adoration, give themselves shots that change them into what they can be. At first common deception, they ran, one to an animal world, the other to a riveted himself a slave. "" They wanted to laugh again nonsense, is torturing a lie, but, having no other way to stand as the apotheosis, they lost sight of their mutual desire for death and blissfully enjoyed the rest. "A key reading these valuable addition changes that reflect real shifts of the author. If the most important is, of course, the choice of the first person in later versions, some lexical variations are also very significant. Thus: "I offer the spectacle of my vices" in the manuscript and typescript 1935 becomes: "I offer the spectacle of my mistakes" in the published version of the same in 1947. "This is an extract from the speech the third city "becomes" This is an excerpt of the speech on the third on the third State "; "A noise (...) was one stroke the whole town" becomes "was one stroke all the people" and "... on a deck of onomatopoeia" becomes "... a gateway ranting." Finally, it is a lyrical Blanchot that reveals this "abrupt call of language": "She had her hair hanging these broad wings velvet are a promise of transformation." "... When the sun casting its light shining against the mirrors everywhere, stopped above the esplanade and heard this loud voice, private mysteriously vowels and consonants, which announces the sharing of spaces" "Shouts of the crowd came and brought calls for an immense distress. "" He ran on the book and bit his teeth, as if he had made insensitive despite the bitterness of those old pages. ". In hindsight Blanchot hesitate to comment, however, that this text provides for the third time and he took care to revise again, 50 years after its first release. However, it brings some bits of explanations that reveal the importance of this little story in the life and work of one of the most mysterious writers of the twentieth century: "The last word has to tell main line, as having instead, the total wreck, the narrative itself can not therefore be preserved, and impossible or absurd, unless he should claim prophetic, heralding a future in the past already there or saying there always when there is nothing: either there wearing nothing and prevent the annihilation that it can not escape its long-term process which is rehashing and eternity. " - [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 révèlent 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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        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 collector-worthy 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 seminal, 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 is better than most, featuring near fine first printing volumes in near fine or better dust jackets. The black cloth bindings remain square, clean, and tight with sharp corners and bright spine gilt. The contents remain unusually clean. We find no previous ownership marks. Light spotting appears confined to the Volume I page edges and first few leaves. The red stained top edges retain unfaded color on Volumes I & VI, showing only mild, uniform sunning to the Volume II-V top edges. The dust jackets are complete with no losses, virtually no wear, and the original front flap prices all intact. The toning of the jacket spines endemic to this edition only slightly affects Volumes I & II, with the Volumes III-VI jacket spines pristine. 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]
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        Portrait of Harry S. Truman

      1948 - Portrait of Truman, measuring 8 x 10 inches, which was used as the official campaign photo for the 1948 campaign. A favorite of the President, the portrait was taken Frank Gatteri, U. S. Army photographer; framed. A presentation copy, inscribed on the wide margin: "To Hon. Philip C. Jessup, with kindest regards and appreciation of him as a public servant, Harry S. Truman, White House, Dec. 18, 1950." ---- Philip C. Jessup, a judge on the International Court of Justice and veteran U.S. diplomat, was credited with playing a major role in ending the Soviet blockade of West Berlin. Jessup was a U. S. representative to the United Nations General Assembly, as well as a member of the International Court of Justice at The Hague. He also served as a U. S. ambassador at large from 1949 until his resignation in 1953. During that time, he was one of the closest advisers of then-Secretary of State Dean Acheson. After Jessup was maligned by Senator Joe McCarthy for purported communist "affinities," Dwight D. Eisenhower heralded Jessup's "devotion to the principles of Americanism." McCarthy's allegations severely damaged Jessup's career and reputation. Nonetheless, President Truman appointed Jessup as United States delegate to the United Nations in 1951. However, when the appointment came before the Senate it was not approved, largely because of McCarthy's influence. Truman circumvented the Senate by assigning Jessup to the United Nations on an interim appointment. Later Truman recalled with admiration that "Philip Jessup was misrepresented and lied about [by McCarthy] to beat the band, and he faced it and went through with it." A remarkable piece of Americana. [Attributes: Signed Copy]

      [Bookseller: North Star Rare Books & Manuscripts]
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        Synthèses Scientifiques d'Ophthalmologie / Recent advances in Ophthalmology / Ergebnisse der Augenheilkunde / Sintesi Scientifica di Oculistica. [Bände/Volumen 1-11 in 9 Bänden - lückenlos!]

      Zürich, Documenta Press - Paris Masson & Cie Ed, 1938 / S'Gravenhage, Uitgeverij Dr.W.Junk, 1948-57. - Mit zahlreichen Tafeln und Abbildungen im Text, 9 uniforme dunkelblaue Leinenbände mit Gold-Prägung, Groß-8. - Sehr gute Exemplare. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Bibliomania]
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        SLAVES OF SLEEP.

      Chicago: Shasta Publishers, 1948 - Octavo, cloth. First edition. One of an undetermined number of subscriber's copies signed by Hubbard on front free endpaper. Barron (ed), Fantasy Literature 3-184. Bleiler, The Guide to Supernatural Fiction 868. Cawthorn and Moorcock, Fantasy: The 100 Best Books 55. In 333. Private owner's bookplate affixed to the front paste-down. A fine copy in bright, nearly fine dust jacket (designed by Hannes Bok) with mild wrinkle at lower right corner of front panel and a triangular light blue ink offset (a printing error) at upper spine end. A very attractive copy. (#149062) [Attributes: First Edition; Hard Cover]

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


        The Great Gatsby

      London: The Grey Walls Press, 1948. 1st Edition . Hardcover. Very Good/Very Good. First UK edition hardcover with dust jacket in very good condition. Dust jacket (now protected with mylar cover) is slightly worn at edges. Previous owner's name written in pen on FFEP, Cambridge 1949. Slightly cocked. Questions welcome. We ship internationally from the United States and Canada every week. If buying internationally, please be aware that additional charges may apply for heavier books. We guarantee a safe, quick, and secure transaction. 10+ years in online bookselling experience.

      [Bookseller: Encore Books & Records]
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        Summer and Smoke

      [New York: New Directions, 1948. Long Galley Sheets. 33 numbered sheets. 1 vols. 8vo. Folded. Fine. Long Galley Sheets. 33 numbered sheets. 1 vols. 8vo.

      [Bookseller: James Cummins Bookseller]
 40.   Check availability:     Biblio     Link/Print  


        CINEMA. Quindicinale di divulgazione cinematografica.

      Milano, Gloriosa/Vitagliano, 1948-1956. In-4, 14 volumi, similpelle, titolo oro al dorso, circa 30 pp. ogni fascicolo, con numerose foto di attori, scene di film, etc., in bianco e nero e a colori. Nota rivista di cinema e spettacolo. Vi collaborarono: Alvaro, Antonioni, Blasetti, De Benedetti, Marchi, Praz, Zavattini, Prezzolini, Ungaretti, Saba, Carlo Ponti, Frank Capra, ecc. Offriamo una raccolta così composta: Nuova Serie: dal n. 1 (Anno I, 25 ottobre 1948) al n. 134 (Anno VII, 31 maggio 1954). Terza Serie: dal n. 135 (Anno VII, 10 giugno 1954) al n. 169 (Anno IX, 1 luglio 1956). Tutto il pubblicato. In ottimo stato (nice copy).

      [Bookseller: Bottega delle occasioni]
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        Die Kunst/ Die Kunst und das schöne Heim: Monatshefte für freie und angewandte Kunst/ Monatsschrift für Malerei, Plastik, Graphik, Architektur und Wohnkultur/ später: Pan (zusammen mit Die Kunst (KONVOLUT aus 48 Bänden) - Jahr 1948 bis 1992 (mit Spez. 1-2); in fortlaufender Folge (gebunden).,

      Magazinpresse Verlag; 1948 - 1988. - Die hier angebotenen Bände stammen aus einer teilaufgelösten wissenschaftlichen Bibliothek und tragen die entsprechenden Kennzeichnungen (Rückenschild, Instituts-Stempel.). Schnitt und Einband sind etwas staubschmutzig; Der Buchzustand ist ansonsten ordentlich und dem Alter entsprechend gut; KOMPLETTPREIS für 48 Bände; bei Versand ins Ausland erfragen Sie bitte zuerst die Versandkosten; Sprache: Deutsch Gewicht in Gramm: 120000

      [Bookseller: Petra Gros]
 42.   Check availability:     ZVAB     Link/Print  


        Brief mit eigenh. U.

      Pacific Palisades, 24. Juni 1948. - 1 S. 8vo. Mit gedrucktem Briefkopf. Mit Briefumschlag. Gebräunt. An Gwennyth Mann mit einer Absage: „[ ] Many thanks for your letter of June 6th. I remember my correspondence with Dr. Heubner very well and I am convinced that he deserved any assistance in his endeavour to broaden his horizon through a trip abroad. However, much as I would like to be helpful in this matter, I am unfortunately not in a position to do so, as the demands made upon my helpfulness are already surpassing my ability [ ]".

      [Bookseller: Kotte Autographs GmbH]
 43.   Check availability:     ZVAB     Link/Print  


        Theory of Deduction: Parts I-IV

      Cambridge: Harvard Cooperative Society, 1948. Paperback. Acceptable. First edition, presumed first issue. 156 p. Mimeographed of typescript, printed on rectos only, bound in plain paper wraps. Fair with staining and creasing to cover and former owner's notes throughout in pencil and pen, name and dorm address on title page. Includes a final exam from 1949-1950, a four-page booklet. This work is an early version of what would become the seminal textbook Methods of Logic, used by Quine for his Harvard class Philosophy 140, an introductory class in logic, as a coursebook. Quine mentions typing it with his wife, Marge, on their honeymoon in the memoir The Time of My Life. Theory of Deduction did not circulate much beyond the Harvard student body and has never been reprinted, although it was considered significant enough by Quine's colleagues to be reviewed in the The Journal of Symbolic Logic in 1949. This copy is from the estate of Donald Davidson, through the trade. A scarce document of the evolution of Quine's thought. An OCLC search locates only seven physical copies in worldwide institutional holdings.

      [Bookseller: Burnside Rare Books]
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        Ms. Brief m. eigenh. U. „H.H."

      O. O., 8. I. 1948. - 8vo. 1 1/4 SS. Mit Kuvert. Brief und Kuvert gelocht. Bleistift. An seinen Freund, den Dozenten Georg Goetz in Kopenhagen. „[ ]Auf das ,gestrichne Wort’ hin kamen nicht nur einige Theologenbriefe ohne viel Interesse, sondern auch einige Nazi- und Antisemitenbriefe aus Deutschland von wahrhaft säuisch-teuflischer Gemeinheit. Nun streifen Sie durch Paris, das ich ebenso wenig kenne wie die andern Weltstädte, ich habe keine je aufgesucht, aber grade von Paris weiß ich natürlich viel, teils aus der Literatur teils durch Freunde, fast alle meine Freunde haben dort Monate oder Jahre verbracht, auch einer meiner Söhne, auch meine Frau. [ ]"

      [Bookseller: Kotte Autographs GmbH]
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        International Association for Bridge and Structural Engineering IABSE. Assocation Internationale des Ponts et Charpentes AIPC. Internationale Vereinigung für Brückenbau und Hochbau IVBH Konvolut von 4 Kongressen (8 vols)

      - THIRD CONGRESS LIEGE 13-18 Septembre 1948 Vorbericht & (Final report) Schlussbericht / 1952 London Vorbericht & Schlussbericht / Quinto Congresso. Cinquième Congrès. Fifth Congress. Fünfter Kongress. Lisboa, Porto, 25 de junho-2 de julho de 1956 2 vols / 1960 also 2 Vols SIXTH CONGRESS, SIXIEME CONGRES SECHTSTER KONGRESS, JUNE-JULY 1960, STOCKHOLM [Attributes: Hard Cover]

      [Bookseller: suspiratio - online bücherstube]
 46.   Check availability:     ZVAB     Link/Print  

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