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Displayed below are some selected recent viaLibri matches for books published in 1949

        Bartholomew and the Oobleck

      Random House, 1949 A near fine first edition in a near fine dust jacket (blue boards, blue jacket, with original price of 200/200 still on front flap). Prior owner's name and address written on a preliminary leaf. Housed in a custom-made collector's slipcase.. 1st Edition. Hardcover. Near Fine/Near Fine.

      [Bookseller: Bookbid Rare Books]
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        THE MOVING TARGET

      New York: Alfred A. Knopf, 1949. First Edition. First Printing. Octavo (19.5cm); terracotta cloth, with titling and decorations stamped in dark green on spine and front cover; red topstain; dustjacket; [6], 245, [5]pp. Cloth lightly sunned at spine, a few scuffs and a small spot of discoloration to boards, with a small patch of wear along lower edge of front board and a small stain to right edge of textblock; topstain is bright and even; Very Good+. Dustjacket is unclipped (priced $2.50), slightly dusty and gently spine-sunned, with light wear to extremities, several tears, and a few tiny nicks; still a presentable, Very Good+ example. The first of Macdonald's Lew Archer novels, a Haycraft-Queen cornerstone title, and basis for Jack Smight's 1966 film Harper, starring Paul Newman and Lauren Bacall. Bruccoli A5.1.a.

      [Bookseller: Captain Ahab's Rare Books]
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        One Way Street (Original screenplay for the 1950 film noir)

      Universal City, CA: Universal Pictures, 1949. Final Shooting script for the 1950 film noir, here under the film's working title, "Death on a Side Street." That title has been struck through in black marker, with the film's final title, "One Way Street," written just above it. In this key film noir, James Mason reprises in spirit his role from the British film noir, "Odd Man Out," made three years before, as a criminal who steals from the mob and is forced to go on the lam, with mob boss Dan Duryea in no mood for forgiveness. The first American film to be directed by Argentinian import Hugo Fregonese. The AFI Catalog notes that Mexican Vice Consul Ernesto Romero acted as technical advisor, and according to studio production notes, an entire Mexican village was built on the Universal-International lot. Rodolfo Acosta, Emma Roldan and Margarito Luna were all Mexican actors. Finally, popular character actor James Best made his debut in "One-Way Street," appearing briefly in an uncredited role as a "Driver." Red titled wrappers, noted as Final Shooting Script on the front wrapper, rubber-stamped production No. 7684, dated October 15, 1949. Title page present, noted as Final Screenplay, with credit for screenwriter Kimble. 119 leaves, mimeograph, with blue and pink revision pages throughout, dated variously between 10-21-49 and 11-12-49. Pages Near Fine, wrapper Near Fine, bound with two gold brads. Grant, p. 480. Selby Canon, p. 91. Silver, p. 219. Spicer, p. 416.

      [Bookseller: Royal Books, Inc.]
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        Death of a Salesman

      Viking Press, 1949 SIGNED First edition book, Published BY THE VIKING PRESS, INC. IN MARCH 1949, stated on the copyright page. First issue dust jacket with $2.50 flap price. SIGNED on a tipped-in page by the author. Also signed on the half title page by Herb Leder, movie and TV producer. Book very good, spine and edges slightly faded, minor water staining along bottom edges of covers, minor rubbing along top and bottom egdes. Dust jacket very good, some wear along edges; tape at top of inside spine; closed small tear at middle of spine at hinge to back panel. Comes in a custom-made slipcase. We will provide a certificate of authenticity.. Signed by Author(s). 1st Edition. Hardcover. Very Good/Very Good.

      [Bookseller: Bookbid Rare Books]
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        Le Paradoxe d'Aytré, manuscrit original et tapuscrit

      S.n, 1949. - S.n., s.l. 1949, 8 feuillets in - 8 (13,5x21,5) et 11 feuillets in - 4 (21x27cm). - Primo nuova versione del manoscritto autografo di 17 pagine, scritto nel 1935. Manoscritto di scrittura molto denso, pieno esclusi gli ultimi 13 righe di testo stampato, con molte cancellature, correzioni e aggiunte. Dattiloscritto completo con alcune variazioni rispetto al manoscritto e una copia della edizione originale pubblicato nel 1947 e, infine, pubblicato nel 1950 è allegato. Nel 1935, Blanchot ha lavorato per tre anni a Thomas the Obscure (ha completato nel 1940), quando interrompe la sua scrittura "che non stop" per scrivere l'ultima parola, un racconto che descrive come "un tentativo di aggirare un altro libro in corso per superare la interminabile e ottenere una narrazione più lineare, ma dolorosamente complesso, una decisione in silenzio ... ". Nel 1983 Blanchot riferendosi alle motivazioni di questo "testo innocente dove gli assassini presagi di tempo risuonavano futuro", può non dire "come è scritto e come sconosciuti requisito, esso ha la risposta." "Non è stato un testo per la pubblicazione," dice nella postfazione del senno di poi. L'ultima parola sarà infatti pubblicato 12 anni dopo in 550 esemplari della collezione età d'oro (anche se andò in bancarotta, allo stesso tempo, il libro sarà in vendita nel 1950) . Così la prima storia si intende subito l'ultima parola e il rifiuto della sua inaugurazione. "Sicuramente iniziare a scrivere immediatamente per raggiungere alla fine (...), questo significa almeno spero di non fare carriera e trovare il percorso più breve per finire presto." In questa "Apocalypse" Blanchot porta il suo romanzo essendo scritto: Thomas, l'eroe, ed è ironicamente chiamato il nuovo potere in altro modo senza espressa "cosa è successo a lui [che] dicendo: non è successo niente ". Ma se, iniziando con l'ultima parola, Blanchot segna la fine della scrittura, è un fine che rimane inedito. E quando il libro viene finalmente pubblicato, sarà più di un lavoro già notevole: Thomas the Obscure, Amminadàb, gaffe, l'Altissimo, Death Sentence e la quota del fuoco. Pertanto, l'ultima parola non è "rinuncia sia Maestro e Giudice", ma una rinuncia scritta di questa "si invano." Non può più essere "la risoluzione insolita per privare [Lingua] per sostenere (...), vale a dire più di linguaggio", ma, come parte del lavoro, c'è una "parola da dire e non dire. ". Una parola riscritto dallo scrittore divenne trasformata dalla scrittura e dalla guerra. Questa è la versione inaugurale, prima bozza di trenta giovane Blanchot, vi presentiamo qui e C. Bident suo biografo, pensiero "Probabilmente non sapremo mai." Fondazione narrativa, la scrittura di base, molti studiosi hanno studiato l'ultimo uomo ", dolorosamente complicato", come anche l'autore, ma che chiama un paio di pagine "profetici", una riflessione sul linguaggio (e, attraverso di lui, totalitarismo), che segna la seconda parte del secolo. Ora vi presentiamo il manoscritto nel 1935 e fino ad allora sconosciute, differisce notevolmente dalle seguenti due versioni del 1947 e del 1983. Scritte in terza persona (il più tardi saranno loro, homodiégétiques) la storia è molto più lungo. Esso contiene le descrizioni e le cui molte scene tagliate, che verranno rimossi nelle versioni pubblicate: "Il sole bagnata [piazza] una luce di fuoco di grandi specchi, posti ai quattro angoli, essere preso a calci in un labirinto di colori . "" Una nube fu presto elevato al soffitto, nube nera attraversata da piccole chiazze incandescente. "" Sono preoccupato, ha detto. Ho sbagliato lasciare prima questa casa quando torno a casa, circondata da fiaccole sono spente ad una ad una. Cosa trovo adesso? Come vivere senza di I linea guida? Puoi dirmi qualcosa? "" Alcuni bambini, testa annerito carbone, rimosso la sabbia in cui sono stati sepolti, e cercando di raggiungere con piccole pietre bianche che traevano dalla tasca, insultarono nella loro lingua incomprensibile. "" Approfittando della tregua, i cani dal loro buco, come se fossero stati segretamente eccitato da un maestro, si precipitarono alla dormiente tirando loro link. Hanno cercato di destra, sinistra, poi scoprendo sotto le coperte, sono scivolato malamente, prima in piccolo, poi il grosso cane, come un gruppo vizioso di bambini. "" L'ebbrezza di stare insieme avendo perso più giovane li ha spinti nella propria casa come se avesse cessato di essere loro, e si gettò grida di veglia gli intrusi dalle loro case. "Ma questo manoscritto offre l'esegeta soprattutto dimostrative alcuni passaggi che forniscono chiarimenti sul significato della storia:" Fino a quando non è un modo indifferente per il passato e il futuro. Se si intende estendere un velo su quale approccio, se un collegamento tra, da repulsione reciproca, momenti di tempo separato risulta da qualcosa, qualcosa d'altro non è mostrato, tuttavia, che tale limite. "" Hanno cui nulla è stato proibito di parlare e che conosceva, si comportava come se la loro conoscenza fosse stato a rompere con la lingua. "" Il discepolo su questa ammissione, l'adorazione raddoppiata, si danno colpi che li trasformano in quello che può essere. In un primo momento l'inganno comune, correvano, uno da un mondo animale, l'altra ad un se stesso ribattuta uno schiavo. "" Volevano a ridere senza senso, sta torturando una bugia, ma, non avendo altra via di presentarsi come l'apoteosi, hanno perso di vista il loro reciproco desiderio di morte e beatamente apprezzato l' riposare. "Una chiave di lettura di questi cambiamenti addizione preziose che riflettono cambiamenti reali dell'autore. Se la più importante è, naturalmente, la scelta della prima persona nelle versioni successive, alcune varianti lessicali sono anche molto significativo. Così: «Offro lo spettacolo dei miei vizi" nel manoscritto e dattiloscritto 1935 diventa: "Offro lo spettacolo dei miei errori" nella versione pubblicata della stessa nel 1947 "Questo è un estratto dal discorso. la terza città "diventa" Questo è un estratto del discorso sul terzo allo Stato terzo "; "Un rumore (...) è stato un colpo tutta la città" diventa "è stato un colpo tutte le persone" e "... su un ponte di onomatopea" diventa "... un farneticante gateway." Infine, si tratta di una Blanchot lirica che rivela questa "improvvisa chiamata del linguaggio": "Aveva i capelli appendere queste ampie ali di velluto sono una promessa di trasformazione." "... Quando il sole getta la sua luce splende contro gli specchi ovunque, si fermò sopra la spianata e udì questa voce, privato misteriosamente le vocali e le consonanti, che annuncia la condivisione degli spazi" "Esclamazioni di: la folla è venuto e ha portato chiede un disagio immenso. "" Ha funzionato sul libro e morse i denti, come se avesse fatto insensibile, nonostante l'amarezza di quelle vecchie pagine. ". Col senno di poi Blanchot esitate a commentare, tuttavia, che questo testo prevede la terza volta e si prese cura di rivedere ancora una volta, a 50 anni dalla sua prima release. Tuttavia, porta alcuni pezzi di spiegazioni che rivelano l'importanza di questa piccola storia nella vita e l'opera di uno dei più misteriosi scrittori del ventesimo secolo: "L'ultima parola deve raccontare linea principale, come aventi invece, il naufragio totale, la narrazione in sé non può quindi essere conservato, e impossibile o assurdo, a meno che non dovrebbe pretendere profetico, annunciando un futuro in passato già lì o dicendo che ci sempre quando non c'è niente: o non portare nulla ed evitare l'annientamento che non può sfuggire al suo processo a lungo termine che viene rimasticare e l'eternità. " - [FRENCH VERSION FOLLOWS] Manuscrit autographe de l'auteur de 16 pages in - 8 publié dans le numéro 9 (juin 1946) des Temps modernes et repris, légèrement retouché, dans La Part du Feu (1949). Manuscrit recto - verso complet, à l'écriture très dense, comportant de nombreux ratures, corrections et ajouts. On joint le tapuscrit complet avec corrections autographes à l'encre noire.     « Le Paradoxe d'Aytré » est le premier texte de Maurice Blanchot que Jean - Paul Sartre publie dans les pages des Temps modernes, fer de lance de la littérature engagée. Trois autres suivront jusqu'en 1952 (« Le roman, œuvre de mauvaise foi », « A la rencontre de Sade » et « L'art, la littérature et l'expérience originelle »), tous de grande importance. Poursuivant sa réflexion entamée depuis plusieurs années sur le combat de l'écrivain avec le langage et sa relation au silence (notamment dans son article « Le Mythe d'Oreste »), Blanchot appuie ici sa démontsration sur Aytré qui perd l'habitude de Jean Paulhan - influence majeure - qui lui fournit notamment le titre de son article : « De ce petit récit, il ne résulte pas que la littérature ne doive logiquement commencer qu'avec le crime, ou à défaut, avec le vol. Mais qu'elle suppose un écroulement, une sorte de catastrophe initiale et le vide même que mesurent l'anxiété et le souci, c'est ce qu'on peut être tenté de voir. Or, remarquons - le, cette catastrophe ne s'exerce pas seulement sur le monde, les objets qu'on manie [...] ; elle s'étend aussi et en même temps au langage, à la possibilité des mots. C'est là le paradoxe d'Aytré. » Et d'ajouter : « L'écrivain ne débute pas toujours avec le sang d'un fait divers ou l'horreur d'un crime qui lui ferait sentir l'instabilité et le vide du monde, mais il ne peut guère songer à commencer autrement que par une certaine incapacité de parler et d'écrire, par une perte de mots, par l'absence même des moyens dont il surabonde. Ainsi lui est - il indispensable de sentir d'abord qu'il n'a rien à dire. » Jean Paulhan, donc, mais aussi Franz Kafka, Herman Melville ou Stéphane Mallarmé, autant d'écrivains admirés par Blanchot, se sont confrontés au paradoxe d'Aytré, au silence, à l'effondrement du langage. Et le critique de conclure : « [...] le silence du langage créateur, ce silence qui nous fait parler, n'est pas seulement une absence de parle, mais une absence tout court, cette distance que nous mettons entre les choses et nous, et en nous - mêmes, et dans les mots, et qui fait que le langage le plus plein est aussi le plus poreux, le plus transparent, le plus nul, car il laisse infiniment fuir le creux même qu'il enferme, sorte de petit alcarazas du vide. »   Très beau texte sur le silence du langage, publié par Jean - Paul Sartre dans Les Temps Modernes.  

      [Bookseller: Librairie Le Feu Follet]
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        La vie filtrée

      Gallimard, 1949. - Gallimard, Paris 1949, 14,5x21cm, broché. - Prima edizione, uno dei 13 esemplari numerati sul filo puro solo maggiori testate. copia rara e piacevole. - [FRENCH VERSION FOLLOWS] Edition originale, un des 13 exemplaires numérotés sur pur fil, seuls grands papiers. Rare et agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        NINETEEN EIGHTY-FOUR

      London : Secker and Warburg. 1949. First edition, first printing. First edition, first printing. Original green cloth with red titles to the spine, in the maroon dustwrapper. Purple top-stain. An excellent near fine copy, the binding clean with a slight lean. The contents are very clean throughout and without previous owner?s inscriptions or stamps. Complete with the unfaded maroon dustwrapper which is a little rubbed and nicked with a few short closed tears to the extremities and a small blemish to the spine. Not price-clipped (correctly priced 10s net to the front flap). A very attractive example, without repair or restoration, of a notoriously fragile book. The first printing of Nineteen Eighty-Four was published on 8th June 1949 and issued in two states of dustwrapper. Both are identical in all but the background colour of the upper panel and spine, one being green, the other maroon. Although no precedence has been established, the maroon is scarcer and considered more desirable, but being exceptionally prone to fading bright examples, as here, are of undoubted rarity. [Fenwick A.12a] Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

      [Bookseller: Lucius Books]
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        C'est à St - Paul de Vence

      Paris, La Nouvelle édition, 1949. in - 8 carré de 94 et (2) pages exemplaire broché, couverture illustrée en couleurs 1949, 1949, , in - 8 carré de 94 et (2) pages, exemplaire broché, couverture illustrée en couleurs, Edition originale avec un envoi autographe de Prévert à Paul Grimault, "pour Paul Grimault", enrichi d'un cœur tracé au feutre noir et colorié en rouge. Touchant envoi de Prévert à son ami Paul Grimault alors que les deux artistes sont en pleine réalisation de la première version du futur "Le Roi et l'Oiseau" (1980), La Bergère et le Ramoneur (1950) d'après un conte éponyme d'Andersen. Grimault, pour les dessins, et Prévert, pour le texte, travaillèrent près de 4 ans (1946 - 1950) à la réalisation de ce film d'animation. Primé en 1951 à la XIIIe biennale de Venise, le film sera commercialisé en 1953. Les auteurs furent mécontents du montage imposé par la production. Ainsi, en 1967, Grimault récupéra les droits de l'œuvre et les négatifs du film, réécrit quelques scènes et remonta le film sous le nom de "Le Roi et l'Oiseau"

      [Bookseller: Librairie Alain Brieux]
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        THE GOLDEN APPLES

      New York: Harcourt, 1949. Cloth and boards. First edition. Signed by the author on the title-page. A fine copy in dust jacket. POLK A7:1.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Mon ami Maigret

      Presses de la cité, 1949. - Presses de la cité, Paris 1949, 12x19cm, broché. - Prima edizione, una delle 100 copie numerate a Lana, gli unici documenti principali. Foxing Piccolo marginale bella copia del suo completo giacca polvere ben illustrato. Qualsiasi scarsità. - [FRENCH VERSION FOLLOWS] Edition originale, un des 100 ex numérotés sur Lana, seuls grands papiers. Infimes rousseurs marginales, bel exemplaire bien complet de sa jaquette illustrée. De toute rareté.

      [Bookseller: Librairie Le Feu Follet]
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        A l'aube de mon destin, sept ans aux Ballets Russes

      Albin Michel, 1949. - Albin Michel, Paris 1949, 19,5x24,5cm, reliure de l'éditeur. - Prima edizione, una delle 30 copie numerate su bianco velina Rives, solo carta di grandi dimensioni. Binding Editor cielo aperto grigio topo, schiena liscia, guardie e contreplats carta marmorizzata. Frontespizio, un ritratto dell'autore di Jean Cocteau, l'iconografia. Bella copia. - [FRENCH VERSION FOLLOWS] Edition originale, un des 30 exemplaires numérotés sur vélin blanc de Rives, seuls grands papiers. Reliure de l'éditeur en plein skyvertex gris souris, dos lisse, gardes et contreplats de papier marbré. En frontispice, un portrait de l'auteur par Jean Cocteau, iconographie. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        L'Europe buissonnière

      Editions Jean Froissart, 1949. - Editions Jean Froissart, Paris 1949, 14x24cm, broché. - Prima edizione con una copertina illustrata da Jacquelin. autografo firmato di Antoine Blondin Dr. Fatou: "... questo libro è vana infallibile spera di divertire .." La nostra copia è coperto con carta kraft su cui Antoine Blondin indirizzo del dedicatario in inchiostro nero registrato, quest'ultimo dopo aver aggiunto il nome dell'autore e il titolo del libro in inchiostro blu. Nizza exempalire pieno sua roulotte. - [FRENCH VERSION FOLLOWS] Première édition comportant une couverture illustrée par Jacquelin. Envoi autographe signé d'Antoine Blondin au docteur Fatou : "... ce livre d'une frivolité à toute épreuve. Dans l'espoir de le divertir." Notre exemplaire est recouvert de papier kraft sur lequel Antoine Blondin a inscrit l'adresse du dédicataire à l'encre noire, ce dernier ayant ajouté le nom de l'auteur et le titre de l'ouvrage à l'encre bleue. Agréable exemplaire complet de sa bande annonce.

      [Bookseller: Librairie Le Feu Follet]
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        Cantique des Colonnes, suivi d'une traduction italienne de Mario Luzi. Six lithographies originales de FELICE CASORATI. Edité par la Radiotelevisione Italiana à l'occasion du Xme anniversaire du Comité mixte Franco - Italien pour la radiodiffusion et la télévision fondé à Rome le 27 avril 1949. Paris, Gallimard, (ma Torino, Ruggero e Tortia), 1949

      Gallimard, 1949. in - folio, 10 ff. di testo francese e italiano, seguiti da 6 doppi fogli per le sei litografie a piena pagina in bianco - nero di Felice Casorati.Composizioni di grande bellezza artistica, ognuna firmata a matita dall'artista e dallo stesso numerata 23/100. Fascicolo impresso con gran cura su carta pesante Fabriano tipo Umbria, conservato sotto la copertina dell'edizione con titolo sul piatto anteriore. Rara e poco nota suite di litografie originali di Felice Casorati. Perfetto esemplare.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        THEY DIDN'T LIVE TO SEE [INSCRIBED BY ARTIST WITH LAID IN LETTER]

      New York; Hatekufah Pub. House, 1949. 1st edition. Original Illustrated Paper Portfolio. Folio. 18 leaves [plus 2 additional duplicate lithographs]. 37 cm. 1st edition (not the more common reprint from 1989) . Some Hebrew. Inscribed by Luba Gurdus on endpage of portfolio in1951. Three sentence autograph letter signed from the artist on her letterhead laid in as well.. Sixteen Holocaust Lithographs by Luba Gurdus [with duplicate copies of nrs 7 & 15 included as well, 18 in all]. ?Of unique documentary value, these lithographs reflect the indelible impressions of an artist/witness who survived six years of the Holocaust in ghettos and camps of Poland. The art works of Luba gurdus, widely exhibited in the United States and Israel, are in public institutions and private collections. The sixteen works, selected for the portfolio, traveled under the auspices of the American Jewish Congress throughout the U. S. And now for part of the permanent collection of Yad Vashem in Jerusalem. These expressionist reminds of terror and death, reflect the artist's limitless compassion for her brethren. The portfolio includes a heartrending introduction and text, describing the 10' x 14' lithographs, supplied by generous margins and printed in sepia on heavy tan sheets, suitable for immediate display. ? (From a later publication of the images) . Subjects: Concentration camps in art. Holocaust, Jewish (1939-1945) , in art. Gurdus, Luba Krugman. OCLC lists 10 sets worldwide. Spine rebacked on portfolio with light wear, otherwise fresh and clean. Very good condition. (HOLO2-113-57)

      [Bookseller: Dan Wyman Books LLC]
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        Que faut - il dire aux hommes? Lettre inédite au général X...

      Imprimerie générale du Sud - Ouest, 1949. - Imprimerie générale du Sud - Ouest, Bergerac 1949, 14x19cm, relié. - Edizione di 8 stampate su pergamena. Associazione a marocco bradel mezzo blu a piccoli angoli, liscio indietro, piatti di carta nella vasca, guardie e contreplats carta blu, coperchi conservati, vincolante siglato DH Mercher. La nostra copia è arricchito da una lettera autografa datata e firmata una certa Guichard, indirizzata ad un bibliofilo senza nome, spiegando che ha agito da intermediario tra Saint - Exupéry e Consuelo in modo che esso ottiene una copia questa rara edizione originale di Saint - Exupéry. copia rara e piacevole. - [FRENCH VERSION FOLLOWS] Edition originale imprimée à 8 exemplaires numérotés sur vélin. Reliure à la bradel en demi maroquin bleu marine à petit coins, dos lisse, plats de papier à la cuve, gardes et contreplats de papier bleu, couvertures conservées, reliure signée de D.H. Mercher. Notre exemplaire est enrichi d'une lettre autographe datée et signée d'un certain Guichard, adressée à un bibliophile resté anonyme, lui expliquant qu'il a servi d'intermédiaire entre Consuelo Saint - Exupéry et ce dernier afin qu'il obtienne un exemplaire de cette rare édition originale de Saint - Exupéry. Rare et agréable exemplaire.  

      [Bookseller: Librairie Le Feu Follet]
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        Gefängniszelle mit Gitter. Oel auf Pavatex.

      1949 - 1949. Bildgrösse: 54x49 cm. Unten links signiert und datiert. Gerahmt 68x65 cm. [Attributes: Signed Copy]

      [Bookseller: Biblion Antiquariat]
 16.   Check availability:     ZVAB     Link/Print  


        Wittgenstein's proof copy of: Ludwig Hänsel, "Newton - Goethe - Pascal. Die Farbenlehre und das Problem der Mitte" (a treatise on Goethe's "Theory of colours").

      [Vienna, 1949]. - Offprint from: "Chronik des Wiener Goethe-Vereins", vols. LII and LIII. Pages 113-146. Original wrappers (spine defective, cover with multiple creases). Wittgenstein's proof copy of Hänsel's essay on Goethe's "Farbenlehre" with his autogr. (often scathing) annotations: "If you only would shut up and keep out of it!" (p. 122), "You are not Goethe" (p. 124), "Christian peoples are not Christianity" (p. 145). - Wittgenstein and Hänsel had met in the POW camp at Monte Cassino. Wittgenstein visited Vienna during Easter 1949, and Hänsel gave him the offprint to read. "The friendship between Wittgenstein and Hänsel had then lasted three decades, and during this time Wittgenstein uttered many a brusque word about Hänsel's ideas. To be sure, the aggressive, vicious tone is irritating" (cf. Christian Paul Berger, in: "L. Hänsel - L. Wittgenstein. Eine Freundschaft", Innsbruck [1994], p. 339). - "Hänsel was an uncommonly well-read man; above all, he appreciated Pascal, St. Augustine, Kierkegaard, and Goethe, about whom he wrote numerous essays. He studied modern issues of Christianity and the church, the philosophy of values, epistemology, and basic questions of education. Hänsel was considered a conservative: like Wittgenstein, he favoured 'tradition' in matters of literature, art, music, and 'the modern life' in general. For Wittgenstein, Hänsel embodied both the classical Austrian tradition and the faculty to perform an observant examination of current trends in culture and criticism. Harshly though Wittgenstein chastises Hänsel, his letters repeatedly end with his criticising the failures attributed to his friend even more sharply in himself" (cf. Ilse Somavilla, Der rechte Ton, in: ibid., p. 325). - Numerous pencil marginalia, underlinings, deletions and corrections by Wittgenstein. [Attributes: Soft Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Drei Frauen beim Kartoffelschälen.

      1949 - Rötelzeichnung auf Bütten. Inet / Wikipedia // VO // Ref.: Museum Darmstadt / Sotheby, London / Henze-Ketterer, Campione / Prandi, Regg. Emilia / Wolfsberg, Zürich / Mus. of Mod. Art, Chicago u.a. // Frankfurt a. M. 1923-1985 Heiden AR, Schweiz. Deutscher Maler, expressiver Naturalist. Mitglied der Münchner Neuen Sezession. -Das leicht grautonig weisse Bütten im Randbereich gering wellig, in den Ecken kleine Nadeleinstiche und der obere Blattrand faltig sowie unter schlichtem PP montiert. -Seltene und frühe, noch realistische Arbeit! Anm. zur Rechnungstellung: Die Buchpreise beinhalten die reduzierte MwSt von 7 %, diese wird gesondert ausgewiesen // Rechnungen für Kunstgegenstände wie Grafiken, Gemälde weisen gem. § 25a Abs.3 Satz 1 UStG (Differenzbesteuerung) bzw. § 25a Abs.3 Satz 2 UStG (Margenbesteuerung) keine MwSt aus (brutto = netto). 0 Gewicht in Gramm: 2001 45x63 cm (Abb.) auf 48x63 cm. (Blatt). Signiert und datiert.

      [Bookseller: Kunstantiquariat Rolf Brehmer]
 18.   Check availability:     AbeBooks     Link/Print  


        The Brothers Karamazov by Fyodor Dostoevsky

      New York: Limited Editions Club, 1949. Hardcover. Gray cloth portfolio, white paper label with maroon border, inset at front cover. Fine. Eichenberg, Fritz. Suite of 50 proof engravings each signed in pencil by Fritz Eichenberg, 49 are approximately 12 x 8 inches, and one 12 x 7 inches (portrait of Fyodor Dostoevsky) pulled from the litho stone by George C. Miller. These illustrations were used in the Limited Editions Club version of this classic literature title, published 1949 in two volumes. Proofs clean, bright and fresh.

      [Bookseller: Royoung bookseller, Inc.]
 19.   Check availability:     Biblio     Link/Print  


        El Taller de grafica popular. Doce anos de obra artística colectiva. The workshop for popular graphic art. A record of twelve years of collective work. Auswahl der Illustrationen von Lena Bergner und Hannes Meyer. Mit Original-Graphiken (Holzschnitte) von Alberto Beltran, Gabriel Fernandez Ledesma, Leopoldo Mendez, Alfredo Zalce und Francisco Mora. Jeweils vom Künstler mit Bleistift signiert. Mit 450 (sehr ausdrucksvollen) Schwarzweiß-Illustrationen von 50 Künstlern zum Thema Widerstand, Revolution, Verfolgung, Faschismus und Nationalsozialismus. Zweisprachig: Spanisch und Englisch.

      La Estampa mexicana, Mexico D. F., 1949 - XXIV Introducción. 196 (recto 162) S. Quer-Quart. Kunstoffeinband mit Spiralbindung. Guter Zustand. Auf dem Vorsatzblatt handschriftliche Widmung des US-amerikanischen Schriftstellers und bekannten Drehbuchautors Albert Maltz (1908-1985) an den deutschen Literaturwissenschaftler und Übersetzer Dr.Hans W.K. Kopka , datiert: Cristmas, 1953. Der Kommunist Albert Maltz wurde in der sogenannten McCarthy-Ära verhaftet und ging anschließend ins mexicanische Exil, wo er bis 1962 lebte. Er schrieb mehrere Romane, arbeitete an dem Film 'Casablanca' mit und schrieb das Drehbuch für den Kriegsfilm 'Pride of the Marines'. Abbildungen werden auf Wunsch versendet.

      [Bookseller: Kunstantiquariat Piesk]
 20.   Check availability:     ZVAB     Link/Print  


        [Original Signed Wood Engraving] NORTH OF THE HEIGHT OF LAND

      [New York: Associated American Artists, 1949]. Original wood engraving, printed in black on tissue (225 x 153 mm, plus full margins). Matted. Fine. Titled and signed by Ward in pencil in the lower margin. Accompanied by an Associated American Artists COA.

      [Bookseller: William Reese Company - Literature ABAA-]
 21.   Check availability:     Biblio     Link/Print  


        The Broons 1949 Annual

      UK: DC Thomson, 1949. 1st Edition 1st Printing. Soft cover. Very Good. Dudley D Watkins. The Broons 1949 Annual Book Four DC Thomson Dudley D Watkins. No inscriptions, no marked, torn, loose or damaged pages. Original pictorial card covers showing light wear. A very presentable copy of a seldom seen annual.

      [Bookseller: Brought to Book Ltd]
 22.   Check availability:     Biblio     Link/Print  


        Sheltering Sky

      New York: New Directions. Very Good in Good dust jacket. 1949. First American Edition. Hardcover. First American edition, after the English edition published the same year. Mylared original dust jacket has chips including a one-inch-wide loss at spine head, small tears, light soil, and a small rubbed spot. Price clipped. Tan linen boards with blue and black imprint have light soil, bumped corners and edges. Light soil on edges, clean interior. Signed by the author on the half title page, dated 1985 in Tangier. Bowles' classic first novel of a New York couple in North Africa was published a few years after the author settled in Tangier, Morocco. A rare find. ; 8vo - over 7¾ - 9¾" tall; 318 pp .

      [Bookseller: Back of Beyond Books, ABAA]
 23.   Check availability:     Biblio     Link/Print  


        Männliches Portrait, in Original Pastell-Kreide hinter Passepartout,

      (1949). 1949 - Sehr schönes signiertes Exemplar. Wilhelm Schnarrenberger (* 30. Juni 1892 in Buchen im Odenwald; † 12. April 1966 in Karlsruhe) war ein deutscher Maler. Wilhelm Schnarrenberger zählt zu den Vertretern der Neuen Sachlichkeit. Er ist der Sohn eines Gymnasialprofessors und machte 1911 sein Abitur. Von 1911 bis 1915 besuchte er die Königliche Kunstgewerbeschule München und studierte parallel in München Architektur. Ab 1913 war er Schüler des Gebrauchsgrafikers Fritz Helmuth Ehmcke und ein Freund von Karl Rössing. 1918 wurde er zum Dienst im Ersten Weltkrieg eingezogen. Er war 1919 für die Zeitschrift Der Weg und ab 1920 für die Zeitschriften Wieland und Simplicissimus tätig. Schnarrenberger unterrichtete von 1921 bis 1933 an der Badischen Landeskunstschule. 1924 war er Gründungsmitglied der ORNA-Werkstätten für Werbung und Innendekoration. Unter den Nationalsozialisten war seine Kunst verpönt und wurde 1937 als entartet gebrandmarkt und verboten, nachdem er bereits seit 1933 nicht mehr unterrichten durfte. 1933 übersiedelte er mit seiner Familie nach Berlin, wo er versuchte, als freischaffender Gebrauchsgrafiker seinen Lebensunterhalt zu verdienen. Den bevorstehenden Krieg voraussehend zog er 1938 nach Lenzkirch im Schwarzwald, wo er zusammen mit seiner Frau Melitta (1909-1996) eine kleine Ferienpension eröffnete. Hier entdeckte er das für sein späteres Werk so wichtige Thema des Stilllebens. 1947 wurde er zum Professor an die Staatliche Akademie der Bildenden Künste Karlsruhe berufen. 1962 erhielt er für sein künstlerisches Werk den Hans-Thoma-Staatspreis. Schnarrenberger legte stets auf das handwerkliche Können seiner Schüler großen Wert, so mussten diese zuerst das Zeichnen von architektonischen Gebäuden und Alltagsgegenständen erlernen, bevor er sie malen ließ. Wilhelm Schnarrenberger war der ältere Bruder des Generalmajors der Wehrmacht Ernst Emil Schnarrenberger (* 27. Juli 1893 in Buchen im Odenwald; † 10. Juni 1966 in Bad Mergentheim).[1][2]. Quelle: Wikipedia Sprache: Deutsch

      [Bookseller: Antiquariat Im Baldreit]
 24.   Check availability:     ZVAB     Link/Print  


        Nineteen Eighty-Four

      London: Secker and Warburg, 1949. First edition. Fine/about Fine. An exceptional copy of the first edition in the more fragile red dust jacket. Book Fine, unread and absolutely pristine with a small seller's ticket on the front paste-down. Dust jacket about Fine with minute wear at the spine ends and slight streaking to the red on the spine, apparently a minor printing defect. The white flaps and rear panel are bright white, without marks or toning. In all a superior example, arguably the finest currently on the market. Orwell's classic dystopian novel of a future totalitarian regime in Great Britain controlling and monitoring public thought and action. One of the most successful books in modern British literature, with over 65 foreign language translations. As relevant today, in the wake of the mass surveillance scandal reported by Snowden, as it was in the 1940s when Orwell was writing it. "Nineteen Eighty-Four is a book that goes through the reader like an east wind, cracking the skin, opening the sores... I do not think I have ever read a novel more frightening and depressing; and yet, such are the originality, the suspense, the speed of writing and withering indignation that it is impossible to put the book down." (V S Pritchett, contemporary reviewer). Fine in about Fine dust jacket.

      [Bookseller: Whitmore Rare Books]
 25.   Check availability:     Biblio     Link/Print  


        Sixth Column

      Gnome Press, New York 1949 - First Edition, First Printing with the words "FIRST EDITION" printed on the copyright page. An attractive First Issue dustjacket that has the publisher's $2.50 printed price present on the front flap. The book is in excellent condition and is bound in the ORIGINAL publisher's black cloth. The binding is tight with minor wear to the edges. The pages are clean with NO writing, marks or bookplates in the book. A lovely copy in collector's condition. [Attributes: First Edition; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
 26.   Check availability:     AbeBooks     Link/Print  


        Nineteen Eighty Four 1984

      Secker and Warburg, UK 1949 - 1st Edition 1949. Recently bound in full leather and with hand marbled endpapers. Book is fine. Contents very good. A small number of very small annotations to text edge. PLEASE DOUBLECLICKON IMAGE TO ENLARGE. Digital images available upon request. Ref 4385 Size: 12mo - over 6¾" - 7¾" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Lasting Words Ltd]
 27.   Check availability:     AbeBooks     Link/Print  


        Life Histories of North American Birds

      GPO, Smithsonian Institute, Washington, D.C. 1949 - First editions. Illustrated, some in colour. 8vo, [9 1/2 x 6 1/2 inches (25 x 16 cm)]. 1919 - Life Histories of North American Diving Birds (National Museum Bulletin # 107)1921 - Life Histories of North American Gulls and Terns (NMB #113)1922 - Life Histories of North American Petrels and Pelicans and Their Allies (NMB #121)1923 - Life Histories of North American Wild Fowl (part 1) (NMB #126)1925 - Life Histories of North American Wild Fowl (part 2) (NMB #130)1926 - Life Histories of North American Marsh Birds (NMB #135)1927 - Life Histories of North American Shore Birds (part 1) (NMB #142)1929 - Life Histories of North American Shore Birds (part 2) (NMB #146)1932 - Life Histories of North American Gallinaceous Birds (NMB #162)1937 - Life Histories of North American Birds of Prey (part 1) (NMB #167)1938 - Life Histories of North American Birds of Prey (part 2) (NMB #170)1939 - Life Histories of North American Woodpeckers (NMB #174)1940 - Life Histories of North American Cuckoos, Goatsuckers, Hummingbirds, and Their Allies (NMB #176)1942 - Life Histories of North American Flycatchers, Larks, Swallows, and Their Allies (NMB #179)1946 - Life Histories of North American Jays, Crows, and Titmice (NMB #191)1948 - Life Histories of North American Nuthatches, Wrens, Thrashers, and Their Allies (NMB #195)1949 - Life Histories of North American Thrushes, Kinglets, and Their Allies (NMB #196)With Typed Letter, signed dated 1941 from Bent To Dr. Krech laid-in to the first volume telling him that he doesn'tr know where to get a copy of the first volume Bulletin 107 and that one sold in NYC for $30 last month. Original printed wrappers, laid in custom half red morocco slipcases and chemises. Some browing or chipping to wrappers but mostly very good, a few stamps or notations Illustrated, some in colour. 8vo, [9 1/2 x 6 1/2 inches (25 x 16 cm)] [Attributes: Signed Copy]

      [Bookseller: James Cummins Bookseller, ABAA]
 28.   Check availability:     AbeBooks     Link/Print  


        Archive of over 200 original inter-negatives from the Cleveland, Ohio Telenews Theater

      Cleveland, OH: N.p., 1949. Archive of 204 black and white 4 x 5 inch inter-negatives from the Cleveland, Ohio branch of the Hearst-owned Telenews theater chain, dating from 1944 to 1949 and including images of some eventful days during the course of World War II, such as Victory Over Japan Day, August 14, 1945. The Telenews theatres were devoted exclusively to non-stop screening of newsreel footage before the advent of television, and the images in this archive feature rare insight into one such theater's function and purpose during the height of World War II, including its exhibitions, radio lounges, and architectural design. One of the first iterations of a trend that would later foster the 24-hour news cycle, desire for the increased and up-to-date news coverage featured at Telenews theaters was brought about in no small part by the Japanese attack on Pearl Harbor and subsequent US involvement in World War II. Telenews theaters featured a single screen that played all-newsreel content, an in-house radio station that played to a seated audience and was simultaneously broadcasted to a separate listening lounge, and a teletype ticker in the lobby bringing in the latest news updates. This diverse range of formats also allowed the Telenews theaters to keep up with an increasing demand for visual content in an era of rapidly changing technology. Cleveland's Telenews theater opened in February of 1941, having been designed by local architect George Howard Burrows, who was better known for his designs of suburban houses in the Cleveland Heights and Shaker Heights areas. By 1950 the theater had changed hands, operating as the Coronet and screening art films. The theatre was finally bought by the Hippodrome chain and renamed the Tower, showcasing second run films until it closed in February 1954. The photographs in the archive highlight Cleveland's role as an epicenter for industrial manufacture during World War II, with photographs of Telenews lobby exhibitions featuring Ohio crankshafts used in war vehicles, Rayon thread and fabric being used in tires, train and life boat exhibitions, and images of Uncle Sam posters seeking recruitment for skilled labor work. The collection also contains inter-negatives showing large crowds at the theater for such events as the surrender of Japan on August 14, 1945, trials of German officers, footage of German atrocities, and live incoming election results for the 1944 presidential election between Franklin Delano Roosevelt and Thomas E. Dewey, in which the popular incumbent would win his fourth term only to die within six months of the successful run. From the estate of the Cleveland Telenews theater manager Frank J. Koza, who would later go on to become a professional news cameraman, and likely the author of the photographs as well. Most inter-negatives approximately 4 x 5 inches. Very Good plus to Near Fine.

      [Bookseller: Royal Books, Inc.]
 29.   Check availability:     Biblio     Link/Print  


        A Tree of Night; and Other Stories

      New York: Random House, 1949. First edition. Cloth. Fine copy in a lightly spine-darkened dust jacket with a pair of small rubs to the spine, one faint mark to front corner.. 8vo, 209pp; black cloth. Capote's second book, inscribed and signed by Capote on the front flyleaf.

      [Bookseller: Locus Solus Rare Books]
 30.   Check availability:     Biblio     Link/Print  


        EL SAHARA ESPAÑOL. Estudio Geológico, Geográfico y Botánico

      C.S.I.C./Instituto de Estudios Africanos, Madrid 1949 - 807 pp. 28 x 20 cm. Rústica. Láminas desplegables y fotografías b/n fuera de texto. Portada ligeramente desgarrada, resto muy buen estado. Castellano. . IMPORTANTE. Lea Nuestras Condiciones de Venta y Gastos de Envío. Contrareembolso 4 eur.Buen Estado [Attributes: First Edition; Soft Cover]

      [Bookseller: Librería Miguel Blázquez]
 31.   Check availability:     IberLibro     Link/Print  


        The World's Wanderer trilogy: The Primitive. The Brother. The Giant.

      Doubleday & Co. 1949-50-51, Garden City, N.Y. - First edition, 8vo, generlly fine copies in almost fine dust jackets. Each book is warmly inscribed to Manfred's editor at the Webb Publishing Co. in St. Paul, Paul Hillestad, where his first two books were published. The Giant also has a typed copy of a letter from Manfred to the Library of Congress about his real name (Frederick Feikema Manfred) and his pen name (Feike Feikema) and the pronunciation thereof.Mulder & Timmerman A5, A6, and A7. [Attributes: First Edition]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
 32.   Check availability:     AbeBooks     Link/Print  


        Alfred Kubin als Buchillustrator.

      Verlag der Erasmus-Buchhandlung, Amsterdam 1949 - Amsterdam, Verlag der Erasmus-Buchhandlung, 1949. 4°. Mit handkol. Frontispiz und Titelvignette, 99 S. Text, ca. 400 Textillus und 100 ganzs. Abb. sowie Tafeln A, B und C. Halbledeband, goldgepr. Rückentitel, Schutzumschlag. WG 24. - Nr. 91 von 100 Exemplaren der Vorzugsausgabe, von Horodisch im Impressum signiert. Enthält am Schluss drei unveröffentliche Zeichnungen Kubins (Strichätzungen), signiert. - Schutzumschlag angestaubt. Halbledeband, goldgepr. Rückentitel, Schutzumschlag. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: EOS Buchantiquariat Benz AG]
 33.   Check availability:     ZVAB     Link/Print  


        Les 24 heures du Mans. Histoire d'une grande bataille pacifique et sportive (signé par Géo Ham)

      Automobile-Club de l'Ouest, Le Mans - Imprimerie Beuchet & Vanden Brugge de Nantes, 1949 - 32 x 25 cm ; Vom Illustrator Geo Ham mit einer persönlichen Widmung signiertes Exemplar. Fliegender Vorsatz mit einem eingeklebten originalen Presseausweis des Le Mans-Rennens 1953. Großformatige französischsprachige Originalbroschur mit Fadenbindung, 468 Seiten mit sehr zahlreichen farbigen Illustrationen. Umschlag beschädigt, Deckel gelockert, sonst gutes und innen sauberes Exemplar. Beiliegend diverse alte Pressefotos zum Thema. pwRegal-HH [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Weber GbR]
 34.   Check availability:     ZVAB     Link/Print  


        Les mémoires de Joséphine Baker recueillis et adaptés par Marcel Sauvage

      first edition on the current paper.autograph dedication of the author autograph signed and dated by Marcel Sauvage René Rigaudeau enriched rare handwritten signature of Josephine Baker.Cover.Iconography.A small angular restoration foot of the illustrated cover, back slightly cracked. Corrêa Paris 1949 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
 35.   Check availability:     Direct From Bookseller     Link/Print  


        The Sheltering Sky

      New Directions, Norfolk 1949 - Fine copy of his first book, in a near fine dust wrapper and a custom made cloth clam-shell case, (one tiny bump to front cover of slipcase). 8vo, tan cloth, printed in black & aqua on the spine (very slightly bumped on spine ends); dustwrapper (lightly soiled on back panel small chips to interior front flap). (New York): New Directions, (1949). [Attributes: First Edition; Hard Cover]

      [Bookseller: Argosy Book Store, ABAA, ILAB]
 36.   Check availability:     AbeBooks     Link/Print  


        Bartholomew and the Oobleck

      Random House, 1949 The true first printing (in blue covers and a blue dust jacket), inscribed "Best Wishes" signed by Seuss on the front free endpaper. The book and the jacket are in worn, good only condition, but signed first editions of this vintage are very uncommon. Housed in a slipcase.. Inscribed by Author(s). 1st Edition. Hardcover. Good/Good.

      [Bookseller: Bookbid Rare Books]
 37.   Check availability:     Biblio     Link/Print  


        Nineteen Eighty-Four

      Secker & Warburg, 1949 A very good first edition in a very good dust jacket. Book slightly leaning. First published 1949 stated on copyright page and 1949 on title page. Original price of 10 s. net still on lower corner of front flap of dust jacket. Jacket is green, not red. Comes in a custom-made collector's slipcase.. 1st Edition. Hardcover. Very Good/Very Good.

      [Bookseller: Bookbid Rare Books]
 38.   Check availability:     Biblio     Link/Print  


        One-Way Ticket (First Edition, inscribed to Moses Asch)

      New York: Alfred A. Knopf, 1949. First Edition. First Edition. INSCRIBED to Moses Asch on the front endpaper: "Especially for Moe Asch - and our record / Sincerely / Langston / New York / August 15, 1955." The inscription here likely refers to Hughes' 1955 recording for Moe Asch's record label, Folkways, titled "The Glory of Negro History," one of several spoken-word collaborations between Hughes and Asch in the 1950s. Asch was a pioneer in the area of recorded folk music, pressing the first commercial sides of Pete Seeger and Lead Belly, and a staunch supporter of the Civil Rights movement. His work with the latter included numerous collaborations with African-American poets and musicians throughout the post-war years. A wonderful association. Near Fine in a Very Good dust jacket. Jacket is bright, with some rubbing at the folds and a small chip at the crown (no titling affected).

      [Bookseller: Royal Books, Inc.]
 39.   Check availability:     Biblio     Link/Print  


        A Tree of Night and Other Stories

      New York: Random House, 1949 - First Edition. Presentation copy; inscribed by the author to his lover, the literary critic and professor Newton Arvin, ÒWho loves you best of all? T does!Ó Near fine in a very good dust jacket. A fine, even poignant, association, especially given that their affair was then ending. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Peter L. Stern & Co., Inc., A.B.A.A.]
 40.   Check availability:     AbeBooks     Link/Print  


        Nineteen Eighty-Four

      Harcourt Brace and Company, 1949, Hardcover, Book Condition: Near Fine, Dust Jacket Condition: Very Good, first American Edition. Size: 7¾" - 9¾" Tall, Copyright date 1949, first American edition, first printing. Brown cloth over boards with red and black lettering and design on the front and on the spine. No tears, bent pages, nor any writing. Shelf wear to the edges and to the head and toe of the spine Are minor. Dust jacket, no bent flaps, nor is it price clipped. Shelf wear to the edges and to the head and toe of the spine are moderate with a chip out of the head of the spine wear along the for edges. Blue Dust jacket shows bright and clean. Now in a protective cover. Text is bright and clean, binding is secure, a solid collectible book of the top 100 novels of the 20th century, Collectible

      [Bookseller: mclin haven books]
 41.   Check availability:     Bookzangle     Link/Print  


        Face to Face.

      Johannesburg: Silver Leaf Books,, 1949. Short Stories. Octavo. Original blue cloth, titles to spine in silver. With the dust jacket. Some light toning to the contents, a little fading at the ends of the spine but an very nice copy in the frayed and somewhat tanned, price-clipped dust jacket with small loss at the spine. First edition, first impression of the author's first book. With the author's signed presentation inscription to the front free endpaper, "For Henry Gibbs A reminder that you promised to come back and share another bottle of Nederburg with us some day - Nadine Gordimer". Gibbs was a contemporary South African writer whose 1951 book Twilight in South Africa won the Anisfield Wolf book award. Gordimer herself won the prize in 1988. Literary association copies of this book are rare.

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

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