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

        The Second World War

      Boston: Houghton Mifflin Company, 1948-1954., 1948. INSCRIBED ASSOCIATION COPY. All First Editions. 6 volumes; 8vo. With several maps. Tinted top edges and head bands, signifying true first edition. Very good in dust-wrappers (displaying chips and tears and a little sunning). INSCRIBED and fully SIGNED in volume 1 to Joseph Thorndike, editor of Life magazine, where the book first appeared as a serial. Woods A123(b). Langworth 264. See also Cohen

      [Bookseller: Adrian Harrington Rare Books]
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        [Post-War Speeches] The Sinews of Peace, Europe Unite; In The Balance; Stemming The Tide; The Unwritten Alliance

      London, Toronto, Melbourne, Sydney, Wellington, Cassell and Company Ltd.,, 1948-61. Edited by Randolph S. Churchill. 5 vols. Octavo. Original brown, green, blue, maroon and red cloth, titles to spines in gilt or silver. With the dust jackets. Boards lightly rubbed and bumped to edges, dust jackets lightly rubbed and nicked to corners, white back panels lightly toned. First editions, first impressions. Europe Unite (1950) is inscribed by the author "To Donald Wolfit from Winston S. Churchill". The celebrated actor-manager Donald Wolfit (1902–1968) was appointed CBE in 1950 and knighted on his retirement in 1957 (though he immediately reversed his decision and embarked on one final tour), the first British actor to be twice honoured.

      [Bookseller: Peter Harrington]
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        Femme Au Fauteuil no. 1 (d'apres le rouge) - Armchair Woman no. 1. Lithograph by Pablo PICASSO (Bloch 586; Mourlot 134; Reusse 413)

      Paris, 1948/49, lithograph on Arches wove paper; pen, brush, scraper, sandpaper on zinc, 3rd state of transfer, with the total of 5 proof impressions, usually recorded as unsigned; our example is inscribed ”epreuve d'artiste” and (possibly uniquely) signed in pencil by Pablo Picasso bottom right. Full margins; image size 27-1/2 x 21-5/8 in. (69.7 x 54.8 cm); sheet size 30 x 22-1/4 in. (76.1 x 56.4 cm). Two edges with tiny (invisible) fox marks; margins clean and even, no usual losses; overall in excellent condition; museum quality framed with non-reflective glass, handcarving and hand-applied gilt by Fred Baker. References: Bloch 586; Mourlot 134/III; Reusse, ”The Huizinga Collection” 413; Bernd Rau 386; ”Picasso, 55 Years…” 141. Our impression with exceptionally strong provenance: 1) Villa Grisebach (Berlin, 2004); 2) Claudia von Shilling collection (Von Shilling was a senior art expert at Hauswedell in Hanover and Villa Grisebach in Berlin until her death in 2003); 3) Georges Bloch collection.

      [Bookseller: Gemini Fine Books & Arts, Ltd.]
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        CATALOGUE DE BEAUX LIVRES; VENTES RAUSCH

      Mies (Vaud), Genève: N. Rauch. 1948-1964. sales catalogues, 8vo.; auction catalogues, large 8vo., cloth with paper or leather spine labels; stiff paper wrappers. variously paginated.. Text in French. Large lot of publications from the mid-century Geneva bookseller Nicolas Rausch. All of these titles were printed in limited editions, generally numbering between 1,000 and 1,500 copies. Includes sales catalogues printed between 1948 and 1961, numbered 1 through 7; auction catalogues from 1952-1962, numbered 1-33 (no. 2 missing), bound in eight volumes, with three additional catalogues from the early 1960s in stiff paper wrappers and three slim bulletins. Contains detailed descriptions of thousands of books. Rausch dealt in books dating from the fifteenth to the twentieth century, and his catalogues are arranged chronologically. He also published several special sales catalogues devoted to topics including incunabula, almanacs, botany and natural history books, artists and the book. With copious reproductions of bindings, facsimile pages, and book illustrations, many of which are in color, some are folded. Auctions include the sales of the libraries of W.S. Kundig and Silvain S. Brunschwig. Not limited to books, the auctions also detail the sales of antiquities, architectural drawings, maps, early photography, prints, drawings, paintings and sculpture. Auction results are loosely inserted into the catalogues. Each catalogue is indexed. .

      [Bookseller: Oak Knoll Books/Oak Knoll Press]
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        THE THIRD MAN .... SECOND DRAFT SCRIPT [wrapper title]

      [Np: London Film Productions for Selznick Releasing Organization], 19 July 1948.. 118 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in typescript blue wrappers, with small script number stamp. Slight sunning at edges of wrappers, else about fine. A "second draft" of this original screenplay by Greene, with uncredited contributions by Orson Welles (who it is said wrote his own dialogue) and Carol Reed, the director. The English production premiered in the UK on 31 August 1949, and opened in the U.S. in February 1950, with distribution through Selznick Releasing Organization. This script is one of a small number of preproduction scripts prepared for use by the latter group. The cast included Joseph Cotton, Orson Welles, Trevor Howard and Allida Valli, and the film was appreciated in its own time via a number of nominations and awards, and appreciated even more considerably by posterity. Greene published an adaptation of the original treatment in 1950, and in 1968, a form of the final script, with production revisions, was published. One of a relatively small number of duplicate copies from the Selznick Archive.

      [Bookseller: William Reese Company - Literature ABAA-]
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        The Final War (Signed)

      1948. Original typescript.. Paperclip marks to covers, else fine. . A story written to accompany ten otherwise unrelated science fiction images, each by a different artist. Original ribbon copy typescript, 20 pages, approximately 4-1/2" x 6-1/2", with a number of holograph changes in the author&#39;s hand and with an introduction by Keller. Stringbound and laid into a cardstock wrapper <u>inscribed by the author</u> in 1952. Lloyd Currey&#39;s bibliography of science fiction writers identifies a mimeographed version of this story done in 1949 that does not contain the ten images. The images, he says, had been earlier issued as a portfolio and "are generally not found with, nor are they part of, this booklet." Since the illustrations are tipped into the sheets of this manuscript pamphlet, it suggests that Keller&#39;s introduction -- which thanks the artists for the use of their pictures and hopes "that they will be pleased with the combination" -- was written for this particular, hand-assembled volume, the text of which later became the basis for the mimeographed edition. By all appearances, unique.

      [Bookseller: Bloody Rare Books, LLC]
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        " BRITANNIA MEWS" SCREENPLAY BY

      [Beverly Hills]: Twentieth Century-Fox, 30 August 1948.. [2],132 leaves plus lettered inserts. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed studio wrappers. Alternate U.S. title ("The Forbidden Street") handlettered on upper wrapper and spine, checkout slip clipped from prelim, but a very good or better copy. Denoted a "Final Draft" of this adaptation to the screen by Lardner of Margery Sharp&#39;s novel. The film was released the following May, starring Dana Andrews, Maureen O&#39;Hara and Sybil Thorndike under the direction of Jean Negulesco. Lardner was likely at work on this script in the months preceding his call, on 30 October 1947, to testify before the HUAC. He had been discharged by 20th Century-Fox just days before his appearance, and like many of the other uncooperative witnesses associated as the Hollywood Ten, he was sentenced to a term in prison. Given his status as the most highly paid studio writer in Hollywood prior to his dismissal, it seems clear that Fox had little desire to set aside their investment in this film&#39;s script as easily as they set aside the man, as it continued to bear his name.

      [Bookseller: William Reese Company - Literature ABAA-]
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        The Universe and Dr. Einstein

      New York: Sloane New York: Sloane, 1948. First edition, first printing. Original publisher&#39;s cloth, dust jacket. Foreword by Einstein. Signed and dated by Einstein to front endpaper: "A. Einstein, 49". Fine in a jacket with minor chipping to the extremities, a few tiny tears, else very good or better.. Signed by Author. First Edition. Hard Cover. Near Fine/Dust Jacket Included.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        Portfolio of Williamsburg Restoration Fabrics

      New York: Schumacher 1948 30 pages of which 19 are mounted samples. One of the most elaborate of the sample books these were used in displaying the fabrics designed for the Williamsburg restoration that began in 1953. The Art Institute of Chicago says books of this kind were generally disposed of by the trade and interior designers who would have owned them and used them. (Art Institute of Chicago Museum Studies, 1995) Size 53 x 64 cm. Research Library of Paramount Pictures dated November 17, 1948. Only known copies are in the New York Public Library and the National Art Library at the Victoria and Albert Museum. Back hinge is beginning to separate.. Good. Double Elephant - over 25" - 50" tall.

      [Bookseller: Alcuin Books, ABAA-ILAB]
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        Alphabet for Adults

      Beverly Hills: Copley Galleries, (1948). First edition. Upper edge of front cover and more so on lower cover a little browned, else fine. Quarto. Illustrated light tan cloth spine lettered in brown over light brown boards pictorially stamped and lettered in dark brown One of 500 copies. Signed and inscribed by Ray on front free endpaper Legendary Photography, painter, and maker of objects and films, Man Ray was on the most versatile and inventive artists of this century. Born in Philadelphia in 1890, he knew the worlds of Greenwich Village in the avant garde era following the 1913 Armory show; Paris in the 1920&#39;s and 1930&#39;s, where he played a key role in the Dada and Surrealist movements; The Hollywood of the 1940s, where he joined others chased by war from their homes in Europe; and finally, Paris again until his death in 1976. " -ManRayTrust.com.& & Man Ray (August 27, 1890 Ð November 18, 1976), born Emmanuel Radnitzky, was an American artist who spent most of his career in Paris, France. Perhaps best described simply as a modernist, he was a significant contributor to both the Dada and Surrealist movements, although his ties to each were informal. Best known in the art world for his avant-garde photography, Man Ray produced major works in a variety of media and considered himself a painter above all. He was also a renowned fashion and portrait photographer. He is noted for his photograms, which he renamed "rayographs" after himself.& & While appreciation for Man Ray&#39;s work beyond his fashion and portrait photography was slow in coming during his lifetime, especially in his native United States, his reputation has grown steadily in the decades since.& In 1999, ARTnews magazine named him one of the 25 most influential artists of the 20th century, citing his groundbreaking photography as well as "his explorations of film, painting, sculpture, collage, assemblage, and prototypes of what would eventually be called performance art and conceptual art" and saying "Man Ray offered artists in all media an example of a creative intelligence that, in its &#39;pursuit of pleasure and liberty,&#39;"ÑMan Ray&#39;s stated guiding principlesÑ"unlocked every door it came to and walked freely where it would." - Wikipedia .

      [Bookseller: Randall House Rare Books]
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        THE SMILE AT THE FOOT OF THE LADDER

      New York: Duell, Sloan & Pearce, 1948 Publisher Merle Armitage&#39;s Presentation Copy To The Great "Artist Of The Book", E. McKnight-Kauffer With A Follow-Up Inscription McKnight-Kauffer. First Edition. 8vo. Original printed boards, black cloth, spine printed in gilt somewhat rubbed & faded & worn at the tips, top edge marked & lacking the dustwrapper. With Printed photographs of Miller, Durrell & Perles pasted to ffe. Notwithstanding condition issues, A great PUBLISHER&#39;S PRESENTATION INSCRIPTION on the second prelim: "To E. McKnight-Kauffer, Xmas, 1948 from Merle Armitage - further inscribed by Kauffer, to Virginia McCrolan, dated 2/ 18/49 Shifreen & Jackson A66a. A Nice Association Copy.. Signed. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        EVERY IDLE DREAM

      London:: Collins,, 1948. First Edition. Very Good++. SIGNED BY BERNARD DARWIN without personalization on the title page immediately beneath his printed name. A Very Good++ hardback First Edition First Printing with mild spotting edges in a Very Good++ Dust Jacket with mild foxing and edge wear. 8vo. 254 pp.

      [Bookseller: By The Book, LC ABAA-ILAB]
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        Parler Seul, Poème. Lithographies de Joan MIRO

      Paris: Maeght, 1948-1950, first edition, one of 200 impressions (total edition 253), signed by Tristan Tzara and Joan Miro on the justification page. Tzara&#39;s poem is illustrated by Miro with 72 original lithographs (49 in colors, of which 18 are hors-texte), including covers and slipcase. Overall size 16 x 12 in (41 x 30 cm); page size circa 15 x 11.5 in (38 x 29 cm), 117 loose leaves, printed on Malacca pure rag paper, all leaves with tissue guards; all fit in publisher&#39;s paper folder with an original color lithograph with collage and housed in publisher&#39;s chemise and slipcase; in excellent condition. A 20th century masterpiece by Joan Miro. &#148;The Artist & The Book&#148; 206: &#148;This book represents a particularly effective collaboration between artist and author. Miro&#39;s brilliantly spontaneous and amorphous images, drawn directly on the stone with very few preparatory sketches, have the inventive verve of Tzara&#39;s random verses&#148;. D. Porzio, &#148;Lithography, 200 Years&#133;&#148;, page 233: The lithographs that Miro drew for (Parler Seul) represent one of his most successful undertakings&#148;. Johnson / Stein 127: &#148;Characterized by flowing spontaneity, Miro&#39;s lithographic illustrations in primary colors are perfectly paired with the eclectic verse of Tzara&#148;. Other references: Rauch 165; Stern 77; Soby &#148;Joan Miro&#148; 23; Prevert p.217; Cramer 17; Chapon pp.290-291; Kornfeld 152/135; Mourlot 102-103, 106-175; Monod 10809; Strachan p.339.

      [Bookseller: Gemini Fine Books & Arts, Ltd.]
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        OF FLIGHT AND LIFE

      New York: Charles Scribner's Sons, 1948. First Edition. Hardcover. Gilt lettering on spine dulled; dustwrapper with some chipping at the head of the spine and jagged closed tear with no loss on the front panel. Very Good in a near Very Good dustwrapper. INSCRIBED and SIGNED by the author on the half-title page: "To Harry Elmer Barnes/with best wishes from/Charles A. Lindbergh/August 1948." Harry Elmer Barnes was a prominent American historian who in the late 1930s emerged as a leading isolationist and German apologist defending German foreign policy as a legitimate effort to overthrow the Treaty of Versailles, which Barnes regarded as unfair to Germany. He would later go on to become a pioneer in the Holocaust denial movement. Lindbergh's sympathy to Nazi ideals has been clearly documented.

      [Bookseller: Charles Agvent]
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        [PAINTING ON PANEL OF ROMAN NOSE, THE FAMOUS CHEYENNE WARRIOR, IN THE FULL BATTLE REGALIA OF THE ELK SOLDIERS]

      [Philadelphia. ca. 1948].. Dry pigment, mastic varnish, and alcohol, on panel, 25 x 36 inches. Signed lower right: "Riggs." 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 &#39;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&#39; 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&#39;s publications). Thus, such apparently bizarre details as Roman Nose&#39;s body paint are based on Riggs&#39; understanding of the Elk Soldier war regalia, and he has faithfully reproduced what is known of Roman Nose&#39;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&#39; flamboyant paintings are fully in evidence. Roman Nose, a celebrated Northern Cheyenne warrior, was an apt subject for Riggs&#39; 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&#39;s in 1999. An extraordinary and dramatic painting. Ben Bassham, THE LITHOGRAPHS OF ROBERT RIGGS (Philadelphia, 1986), passim.

      [Bookseller: William Reese Company - Americana]
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        The Wall and Other Stories. Translated by Lloyd Alexander

      New York: New Directions 1948 New York: New Directions, 1948. First American Edition, one of 25 copies signed by the author. "Twenty- five of this edition on specially made paper have been signed by the author". 8vo. [ii], 270 pp. Japan vellum spine and patterned boards. Spine a bit sunned, covers a little scuffed and edges slightly rubbed, but a good, sound copy otherwise; without slipcase . First American edition of Sartre's first and most famous collection (LE MUR, 1939) whose widely anthologized title-story "The Wall," became practically synonymous in America and England with the post-war movement known as "existentialism"

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


        GRAZIELLA. Illustrations en couleurs de André E. Marty.

      In-8, bross. alla francese, astuccio, custodia, pp. 171,(7), vignetta a colori alla bross. e al frontespizio, molto ben illustrato nel t. da 20 delicate composizioni a colori di Marty. Bella edizione di 1500 esemplari numer. Il ns., VIII, fa parte della tiratura di 50 "sur Hollande Van Gelder" che contiene 2 suites delle illustrazioni, a colori e in b.n., oltre a un acquarello originale di Marty. Cfr. Bénezit,IX, p. 304: "André Edouard Marty (1882-1974), illustrateur et peintre de décors de théatre; les très nombreux livres qu'il a illustré ont conquis les amateurs par la grace de ses personnages et du décor qui les entoure". Esemplare in ottimo stato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        SPACE CADET

      New York: Charles Scribner's Sons New York: Charles Scribner's Sons,. 1948. cloth.. Lower corners bumped, a very good copy in very good dust jacket with. rubbing to folds and spine ends, minor loss at corners, and a rubbed. spot on rear panel. (#132180). First edition. Heinlein's second young adult SF novel.

      [Bookseller: L. W. Currey, Inc. ]
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        Écoute, Israël. Eaux-fortes de S. Landau.

      Éditions de la Cigogne, [Casablanca] 1948. Folio. Printed with Elzévir Caslon by J. Klein on Vélin de Rives. Initials and typographical ornaments designed by the artist and xylographed by Pierre Bouchet. Uncut and unbound in publishers printed wrappers. In original cased wrappers. In original slipcase. As new.. Only printed in 250 copies. One of 31 copies signed by the author and the illustrator. This complete set also includes 2 original pen drawings, signed by the artist + 1 original copper plate + 14 extra single prints, not used in the book + 2 sheets with text and illustrations, not used in the book. The text derives from a book with the same title, orignally published in 1913. In this context, the text has been edited by the author himself. This outstanding book is a most fantastic piece of Judaica. The style of the illustrations reflects the same European Jewish tradition with a naive pen and imaginative methaphors as can be seen by for instance Marc Chagall. However, the illustrations and prints also refer to the naive style of Picasso and Matisse from the same period

      [Bookseller: Vangsgaards Antikvariat]
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        Wave Mechanics and its Application.

      Oxford at the Clarendon Press 1948. 8vo. XII + 393 pages. Publisher's dark brown cloth in dust wrappers.. With Professor Niels Bohr's name stamp on fly leaf.** A famous textbook on quantum mechanics. Sir Nevill Francis Mott [1905-96] became a Nobel laureate in physics in 1977

      [Bookseller: Vangsgaards Antikvariat]
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        Figure-Prints of Japan

      Beacon Press Sydney, Australia: Beacon Press, 1948. Folio. 53pp. One of forty deluxe copies, signed by the author. A lovely production, illustrated with thirty-six color plates. The plates are genuine prints: beautifully made modern reproductions of the originals, done in Japan. The text traces the rise and fall of the Ukiyo-ye school of Japanese wood-engraving, from its origins with the artist Moronobu in the seventeenth century, to its decline under Western influences in the nineteenth century. Ukiyo-ye is translated as "pictures of the floating world," and prints of this genre depict the carefree pleasures of life: a world of entertainment and beauty, beyond mundane, everyday concerns. Ukiyo-ye challenged the traditional aristocratic and courtly schools of painting, and the plates depict people of the lower classes, including actors and courtesans, the finely-dressed beauties of the city, and tea-house waitresses. Artists of this school featured in Barnett's work include Utamaro, Shunsho, Harunobu, and Kiyonaga. Sumptuously bound in silk brocade, backed in gilt-ruled vellum. The endpapers bear prints of a woman carrying an umbrella, surrounded by borders of red maple leaves. A few very faint spots of offsetting from the plates, else a very fine copy. With the armorial bookplate of Bernard Gore Brett and a small, unobtrusive bookseller's label to front pastedown. An enchanting introduction to the art form.

      [Bookseller: Bromer Booksellers ]
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        The World Is a Wedding

      New Directions (Norfolk): (New Directions). (1948). First. Uncorrected Proof. String-tied signatures in unprinted wrappers. Light stain and slight crease to one corner of the front wrap, a little darkening to the extremities of the wrappers, a very good copy of this fragile construct. Van Wyck Brooks' copy with his ownership signature, titled in his hand and with some of his notes on the front wrap and a few in the text. One imagines this proof must have been produced in very small numbers and survived in even fewer, this particular copy with distinguished provenance. Short fiction by one of the most celebrated of the New York poets so important to the literary landscape during the middle of this century. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Les Mains Sales. Piece en sept tableaux.

      (Paris), Gallimard, (1948). Bound uncut with the original printed wrappers in an exquisite dark green half morocco binding with gilt title to spine. Dark green marbled paper over boards. Top-edge gilt. Gilt super-ex-libris to inside of front board, the bottom of which is signed in gilt: "J.P. Miguet".Top-edge gilt. Housed in a green paper slip-case with green morocco edges.. First edition in book form of Sartre's hugely controversial and extremely popular political drama, that of his plays to enjoy the greatest public success. Number LXXXIV out of 210 numbered copies on alfa mousse Navarre (15 copies were printed on vélin de Hollande and numbered I-X + A-E (H.C.), 60 on vélin pur fil Lafuma Navarre, numbered XI-LX + F-O (H.C.), 210 on alfa mousse Navarre, numbered LXI-CCLX + a-j - apart from that, 1040 copies appeared on regular vélin supérieur, numbered 1-1040). The work, "Dirty Hands", was originally published in two parts of the periodical "Les Temps Modernes", in March and April of 1948. Later the same year, in the Spring-Summer of 1948, as few extracts of it appeared in "Yale French Studies", and in June 1948, the work appeared for the first time in book form (as it is here). The work was hugely popular and appeared again numerous times after the first book edition: in 1953, 1954, 1961, 1962, and in English in 1963, and Italian in 1964. It was performed at the Antoine Theatre as early as 1948, and remained on tour for years, until in 1951 it was made into a film (by Fernand Rivers). The political drama, which takes place during the last two years of World War II, in Illyria, a fictional East European country, an ally of Nazi Germany, which is on the verge of being annexed to the Eastern Bloc, tells the story of the assassination of a leading politician, carried out by the young communist, the 21-year-old bourgeois intellectual Hugo Barine. The main question of the work is whether the killer's motivations are political or personal, and not who did or did not commit the murder. The play was not only hugely popular, it also caused great controversy and great opposition. Sartre was interviewed numerous times because of it, and a huge number of articles and critiques of it were published. Right-wingers welcomed it as anti-communist, and left-wingers attacked it for the same reason. When the film came out in 1951, Communists threatened the cinemas showing it, and after that, the play itself was not re-staged in France until 1976. In fact, it was staged in no socialist state until November 1968, when it was shown in Prague after the invasion of Czechoslovakia by fellow Warsaw Pact forces.Contat & Rybalka: 48/145

      [Bookseller: Lynge & Søn A/S]
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