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Displayed below are some selected recent viaLibri matches for books published in 1950

        The Miraculous Fish of Domingo Gonzales

      New York: W.W. Norton. (1950). First. First edition. Illustrated by William de la Torre. Small bookstore label on the front fly, and old tape shadows on the pastedowns where a previous owner had affixed the flaps, else fine in an attractive, very good dustwrapper that has been laminated, has corresponding shadows on the flaps, and has suffered some modest fading at the extremities. The last of the author's four novels, and his only non-mystery. Comic and sly novel about a sleepy Mexican fishing village where the only catch is sharks. The village achieves the luxuries of modern civilization when an American buyer of shark livers moves in. Goldsmith, a novelist and screenwriter, is best known for his classic noir novel Detour, which was made into the seminal cult noir film. Very scarce. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Die Familia Moskat = The Family Moskat

      New York: Morris S. Sklarsky, 1950. 8vo. 760 pp in two volumes. Yiddish. & & Vol. I: Good in black boards. Binding splitting at p. 289. Tear at p. 301. Binding partly separated at p. 387. Mild yellowing of pages. Final chapter not in English edition.& & Vol. II: Very good in black boards. Spine bottom bumped. Upper corner of front cover creased.

      [Bookseller: Alan Wofsy Fine Arts]
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        Dianetics. A Scientific Re-Statement and a Summary of Logic

      [Claremont, California]: DNB, Sep-Oct 1950. (SCIENTOLOGY) 4to. Mimeographed. 16 pp. Self wrappers. Fine, two folds

      [Bookseller: James Cummins Bookseller]
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      [Bookseller: Librairie Courant d'Art]
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      Sagittaire,, Paris, 1950 - 1 des 50 exemplaires numerotes sur papier velin pur fil, signe par Andre BRETON. 353 pp. in-8, [Attributes: Signed Copy; Soft Cover]

      [Bookseller: alphabets]
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        On Desert Trails with Everett Ruess

      Desert Magazine Press, El Centro, CA 1950 - Young disappeared adventurer and artist Everett Ruess's letters, poems, and artwork. 1950 printing, which was reformatted from the 1940 edition. Signed and inscribed by Stella and Christopher, Everett's parents who were involved in getting their son's work to press. Stella's and Christopher's signatures are uncommon compared to their son Waldo's, who signed books regularly. Two small ink spots to front of jacket, unclipped, light wear to edges. Edges of boards show little wear. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Back of Beyond Books, ABAA]
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        The Cocktail Party / A Comedy By T.S. Eliot

      Faber & Faber Ltd., London 1950 - London: Faber & Faber Ltd., 1950. First Edition, and first state, with "you shall see here again" at page 29, line1. Signed by Eliot on the title page, without further inscription. Gallup A55a. With the first-state erratum, as called for, at top of page 29. Octavo, cloth, jacket, 168 pp. + "appendix". Book shows only a bit of sunning at top and bottom edges, is otherwise near fine; please see all scans. Jacket has several very small closed slits, slight roughening at spine ends, several small spots of soiling on front panel. See scans. Not price-clipped, still showing the 10s. 6d. Net price. A relatively scarce "flat" signature - i.e., no inscription accompanies it, that being something Eliot did not turn out in great numbers, as many authors today do. This copy was signed by Eliot for a Washington University (St. Louis) student in June of 1953; Eliot presented a lecture to the students and faculty of the institution at that time, and signed this copy afterward, without inscription. Letter of provenance to that effect is laid in. Signed copies of the first state (with the typographical error mentioned above) appear to be quite scarce. The Cocktail Party - designated as a comedy by Eliot, and indeed as a witty verse-play it does tickle - includes an at-first-nameless stranger ("An Unidentified Guest") who assists a married couple in the preservation of their troubled relationship; this guest - later identified - was played in the recorded version by Sir Alec Guinness, and - yes - the Unidentified Guest is.a shrink. A psychiatrist, here, means for Eliot a modern intellect at peace who saves those of ordinary genes in a way that a priest would once have done. Eliot has been accused of being someone who might have been a great playwright had he not been so upper-crusty, so Christian, and so Brit. Didn't seem to adversely affect his poetry much, though. A generally well regarded play, produced for a while on stage and committed to radio and the TV screen as well. Uncommon as the first state with a signature. Accompanied by top signature provenance, as noted, laid in. L-45n [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Singularity Rare & Fine]
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        The Cocktail Party. A Comedy

      London: Faber and Faber Ltd,, 1950. Octavo. Original green cloth, titles to spine gilt. With the dust jacket. Edges of boards faded, small area of spine faded where dust jacket is chipped, spine slightly rolled. A very good copy in the rubbed jacket with chips from the spine panel affecting the titles. First edition, first impression. Inscribed by the author on the front free endpaper "To Miss Elizabeth Horton with the author's compliments, T. S. Eliot".

      [Bookseller: Peter Harrington]
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        History of the Great Synagogue, London, 1690-1940

      Edward Goldston & Son Ltd., London, Great Britain 1950 - "This edition, printed on Japon vellum is limited to 100 numbered copies signed by the author." Blue leather binding, top edge gilt, very attractive gilt lettering on spine. 8vo, xiv, 311pp. 75 plates. 311, [1]pp. Color frontispiece protected with a tissue guard. Fascinating picture of London Jewry of the period within the setting of London History as a whole. This work is profusely illustrated with numerous b/w in-text and full page illustrations, and several b/w full-page photographic reproductions of portraits, views and documents. [Attributes: First Edition; Hard Cover]

      [Bookseller: Meir Turner]
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        Pasiphaë. A Poem by

      (London: Golden Cockerel Press 1950). . Limited edition, no. 81 of 100 specially bound copies with an extra engraving, from a total edition of 500, 8vo, 40 pp. 7 copper engravings by John Buckland-Wright. Original purple vellum by Sangorski and Sutcliffe, gilt spine title and vignette to upper cover, some light rubbing, spine sunned, t.e.g. “Correctly printed for the first time” from the manuscript. Cock-a-Hoop 185.

      [Bookseller: Bow Windows Bookshop]
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        The Collected Later Poems

      New York: New Directions, 1950 First edition, limited issue of 100 numbered copies. Signed by Williams on the limitation page. Publisher's red cloth, spine lettered in gilt, black top stain, printed on laid paper. Book near fine, with some rubbing and minor dimming to the spine, else fine, bright and fresh interior. A bright and pleasing copy. Housed in the publisher's slate blue slipcase, with white paper label lettered in black; some light soiling to the otherwise bright boards, hinges split at the rear board and spine ends so that slipcase functions like a folding box. The Collected Later Poems is an anthology of Williams' poetry, written between the late 1930s through the late 1940s. Specifically, it includes selections from his collections The Wedge (1944) and The Clouds (1948), as well as a selection of previously published poetry. The work of a matured poet, The Collected Later Poems proves that Williams' "passion for literature has never slackened" but instead has "grown richer with the years," and, as the dust jacket lauds, he possess "a lyrical power and technical mastery that are not surpassed by any contemporary." In 1951, New Directions reissued its 1938 anthology The Complete Collected Poems of William Carlos Williams, 1906-1938 as a companion volume entitled The Collected Earlier Poems, and issued revised editions of both volumes after Williams' death in 1963. Interestingly, while The Collected Earlier Poems is arranged thematically, the poetry in this volume is largely organized chronologically.. 1st Edition. Hard Cover. Near Fine.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        How American Business Can Sell the American Way of Life to the American People

      [Wellesley, Massachusetts]: Babson Institute Press, 1950. 16 p. "An Address Delivered at the Fourth Annual Conference of Businessmen and Educators, Babson Institute of Business Administration." Stapled wraps.  First edition. Very Good condition. Clean text. Former owner's name stamped on front cover, a few tiny stains, the name "Bernays" penned by someone on left top corner of front cover. A call from the P.R. pioneer for American business to meet the hopes and desires of the American public, not merely to argue with statistics and advertising. Quite scarce-- an OCLC search shows only two copies of this pamphlet in institutional holdings in the US, and one in Germany.

      [Bookseller: Burnside Rare Books]
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        I, Robot

      Gnome Press 1950 - A near fine first edition in a very good dust jacket. First edition stated on the copyright page. Original price of $2.50 still on front flap of dust jacket. Previous owner's signature, address and book plate on front pastedown, and small red stain from bleeding of dust jacket dye inside jacket. Jacket also has a few small chips and tears and wear at the top of the spine, some bleeding from book on inside dj-very minor. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        Typescript Lectern Copy of "Hard Not to be King"

      N.P.: N.p., (1950). 13pp. Signed typescript with Frost's manuscript correction to the title, changing "Hard Not to be King" to "Hard to Keep from Being King," and noting "As read at the American Academy." Additionally inscribed by the author "For Reginald Cook," on the final page. Cook was a close friend of the poet and the director of the Bread Loaf School of English from 1946-1964. This was the lectern copy from which Frost read when he first presented the poem at the American Academy of Arts and Letters in New York in the spring of 1950. The text is printed in a large font, as Frost's eyesight was declining during this period of his life. This long, philosophical poem was first published in the Proceedings of the American Academy of Arts and Letters in 1951, and again later that year in an edition of 300 copies by House of Books. Several changes were made between this copy of the poem and the version finally anthologized in 1962 as part of Frost's last published collection, In the Clearing. Frost continued to alter the title, which appeared in a couple of permutations: "Hard Not to be King" for the House of Books edition, and finally as "How Hard It Is to Keep from Being King When It's in You and in the Situation." Several adjustments to wording and spelling were made between the typescript version and the anthologized poem, and some entire lines were added or altered: for example, the third-to-last line to the end of the poem in the typescript, "It's hard for a King to keep from being a King," was later changed to two lines that echo a phrase from the third stanza of the poem, "How hard it is to keep from being King / When it's in you and in the situation." The final line of the poem was also changed from "(Exactly half I am inclined to say)" to "(Or more than half I'm inclined to say)." An intriguing look into Frost's process of writing and revision. Very fine.

      [Bookseller: Bromer Booksellers]
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      Limited Editions Club, New York 1950 - Two large octavo (7-3/4" x 11") volumes bound in full blue denim with new black leather labels stamped in gold. Illustrated with wood engravings by Thomas Nason, perhaps Frost's most sympathetic illustrator, and designed by Bruce Rogers. Of a total edition of 1500 copies SIGNED by the poet, the illustrator, and the designer of the book on the colophon page, this is one of only 15 Presentation Copies with the publisher's blindstamp attesting to such on the colophon page where instead of a number the initials "G.M." are handwritten. Acquired directly from the publisher's files, and most likely the publisher George Macy's very own copy. The most beautiful of the several issues of this great poet's complete works, this a rather special copy. Monthly Letter laid in. Fine in a complete, Near Fine slipcase with light wear and soiling [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Charles Agvent, est. 1987, ABAA, ILAB]
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        <I>?Five years ago, after the bloodshed and destruction of World War II, many of us hoped that all nations would work together to make sure that war could never happen again ? The invasion of Korea has shown that there are some who will resort to outright war, contrary to the principles of the charter, if it suits their ends ? The only course the peace-loving nations can take in the present situation is to create the armaments needed to make the world secure against aggression. That is the course to which the United States is now firmly committed??</I>

      [Flushing Meadow, NY] Printed Speech, in booklet form, Signed ?To Bill Hassett with / appreciation / Harry S. Truman? on the cover as President, 12 pages, 3.75? x 8.5?. Address titled ?A New Page in History,? delivered by the President before the United Nations General Assembly, Flushing Meadow, New York, October 24, 1950. Inscribed to his White House Correspondence Secretary, William D. Hassett. Rusted at the two staples binding the booklet. Fine condition.At 11:30 AM, October 24, 1950, President Truman addressed the General Assembly of the United Nations at Lake Success, Flushing Meadow, New York. His address, in booklet form, was printed by the U.S. Government Printing Office later in 1950. Truman spoke on the fifth anniversary of the ratification of the Charter of the United Nations which brought the international body officially into existence.In part, ?Five years ago today the Charter of the United Nations came into force. By virtue of that event, October 24, 1945, became a great day

      [Bookseller: University Archives]
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      EDITORA INTERNACIONAL SAN SEBASTIAN 1950 - R240000815: 399 pages. Exemplaire n°201 sur 2000 (llevan un aguafuerte original de Ignacio Zuloaga) tiré Frontispice en noir et blanc. Nombresuses photos et portrait en noir et blanc, dans le texte et hors texte. Texte en 2 colonnes et en espagnol. Couverture toilé rouge. Jaquette avec une illustration en couleur, contre-collée In-4 Relié toilé. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais Classification Dewey : 460-Langues espagnole et portugaise [Attributes: Hard Cover]

      [Bookseller: le-livre]
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        Lyrics and Unfinished Poems by Lascelles Abercrombie.

      The Gregynog Press,[near Newtown, Montgomeryshire (Wales)], 1950. # 14 of 175 copies, this in specially handbound Gregynog binding. - Colophon: "Of this edition hand-set in the 'Romulus' type of Messrs Enschede en Zonen, one hundred and seventy-five copies have been printed under the direction of James Wardrop, on Barcham Green hand-made paper at the Gregynog Press, near Newtown, Montgomeryshire. Finished on the twenty-eight day of June, mcmxl." Small folio; 7 3/4 x 11 3/8", page height: 28.2 mm. xi., 82pp.; Foreword. A Note on the Poetry of Lascelles Abercrombie by Wilfrid Gibson. Bound in full dark gray morocco by George Fisher at the Gregynog Bindery with both their stamps on right & left corners of lower back turn in. Gilt design features an Art Deco influenced geometric pattern on both covers with an inverted triangle of 12 lines of increasing thickness near top of cover & an enlongated & descending chevron of 9 lines with thickness increasing towards the center at the center of cover & a group of 3 geometric figures formed of 15 increasing & decreasing lines & broken spaces producing a kind of stepped "3-D" effect at lower part of cover. Spine features 3 wraparound gilt lines continuing the top section cover design, another elongated chevron in the center & wraparound series of various thickness lines from lower part of covers; 2 raised bands & title, author's name running sideways near top raised band. Top edge gilt. Leather turn ins have a single thick gilt line throughout the center. Upper top of spine shows a slightly visible closed crack. Turn ins have left a tan impression on front & back endpapers. A bookplate has been removed from the center of front endpaper. Overall, binding & text in fine condition. The final book published by the Gregynog Press. Only a few were bound in the special Gregynog binding. A rare item. [Attributes: Hard Cover]

      [Bookseller: Peter Keisogloff Rare Books, Inc.]
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        The Third Man and The Fallen Idol

      London: Heinemann. (1950). First. First edition. Tiny lightened spot on topedge and very slightly cocked, else near fine in near fine dustwrapper with tiny nick and tears at the spine ends. A scarce title, the first printing of Greene&#39;s novel, written prior to the screenplay in order to secure permission from Viennese authorities to film on location. Greene, director Carol Reed, and producer David O. Selznick had enjoyed great critical and box-office success with their 1949 film The Fallen Idol, based on Greene&#39;s story "The Basement Room" and starring Ralph Richardson as a kind butler whom a child believes must be protected from a murder charge. Joined by producer Alexander Korda, Greene, Reed, and Selznick immediately set out to make another film together. The Third Man, an inspired classic of film noir, arose from a series of serendipities, from Greene&#39;s conversation with a British intelligence officer about Vienna&#39;s sprawling sewers and its black-market in penicillin, to Trevor Howard&#39;s discovery of zither player Anton Karas outside a restaurant, right down to the final shot, which everyone, including Joseph Cotten during the filming of it, expected to end differently. Supposedly it was the only film Orson Welles made which he bothered to watch when it came on television ("Carol Reed and I have something in common," he once remarked, "We are both awfully patient with me."). Justifiably high on the list of the best films ever made. A very nice copy. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        I. Candide. II. Zadig ou la destinée, Micromégas. III. Les Lettres d'Amabed, L'Ingénu. IV. Le Taureau blanc, La Princesse de Babylone. V. L'Homme aux quarante écus, Le Blanc et le noir. Illustrations de Paul-Émile Bécat.

      Arc-en-ciel, 1950-51, Paris - Vol. 5, pp. 176, 190, 238, 190, 184. La nostra serie è la n. 1778 (il n. è collocato solo nel colophon del Vol. I - Candide). Uno "choix" dei "Contes et Romans" di Voltaire, con 50 splendide litogr. a piena pagina e fuori testo (molte di tematica galante o decisamente erotica) di Paul Emile Bécat; tirate da Dominique Viglino e colorate a mano da Renson Fils. Importante e ricercata raccolta, sviluppata in 5 pregiati volumi. Testi in francese. Bénézit, 1, p. 939; Vollmer, 1, p. 145; Monod 11.411. Leg. a quartini sciolti in brossura, con camicia e custodia edit. (lievi tracce d'uso, lievissime abrasioni e piccole ammaccature ai bordi delle custodie, ma perfetti esempl. all'interno). Ottimo stato di cons. Tiratura di 2.200 es. num.: da 1 a 15 su carta Lana, con 4 originali+ 1 suite a col. e 1 in nero; da 16 a 100 su carta Lana+ suite in nero; da 101 a 1000 su c. Lana; da 1001 a 2000 su Vélin Chiffon des Voges e da I a CC con le 2 suite per collaboratori.

      [Bookseller: Studio bibliografico LE MUSE]
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        Le mécanicien et autres contes.

      Chez l'auteur 1950 - - Chez l'auteur, s.l. 1950, 14,5x19,5cm, broché. - Edition originale, un des 100 ex numérotés sur pur fil du Marais, seuls grands papiers. Préface d'André Breton. Rare et bel exemplaire. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        [Manuscript]: One Lonely Night

      Original manuscript of the fourth Mike Hammer novel. 253 typed paginated printed rectos only, with 246 pages of text (paged 1-240), with six additional pages inserted, plus seven pages of preliminary matter. Spillane&#39;s deletions are substantial, his changes and corrections are numerous, on nearly every page, and are virtually all in his hand (there are a few copy editor&#39;s or typesetter&#39;s corrections as well). Signed twice by the author and dated 27 September 1950 (the novel was published in 1951). Near fine, the top sheet, as usual, exhibiting the most wear. Hammer finds a ring of Commies and kills them by the score (literally, at one point dispatching 40 by machine gun!). Housed in a full morocco clamshell case. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        David Thomson&#39;s Journals Relating to Montana and Adjacent Regions 1808-1812

      Missoula, Montana: Montana State University Press 1950, 1st Edition. (Hardcover) clvii,345pp. Very good. Octavo in original gilt lettered brown cloth with 4 plates (including frontispiece) and 2 folding maps. Some minor edgewear. With original prospectus laid in loosely. Transcribed from a Photostatic Copy of the Original Manuscripts and Edited with an Introduction by M. Catherine White..

      [Bookseller: Aquila Books]
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        Here Comes a Candle

      Dutton, NY 1950 - First edition. Near fine copy is bumped to lower corner of front board and rubbed at spine extremities. The dust jacket is corner clipped with price of $2.75 stamped on lower front flap, some rubbing to extremities, back panel and flap folds. All of our first editions are first printings unless otherwise noted. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Mysterious Bookshop]
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        Sarn - Reliure Maroquin signée Creuzevault

      1950 - Préface de Jacques Lacretelle - Texte Original de Mary Webb, traduit de l'anglais par Jacques Lacretelle & Madeleine Guéritte - Ouvrage illustré de 35 Grandes Compositions & 23 Culs-de-lampe par Roland Oudot, en couleurs, in & hors-texte + 1 Suite de 57 Gravures en noir par Roland Oudot, gravées sur Bois par Théo Schmied - Les Compositions en couleurs ont été tirées au repérage sur les Presses de Théo Schmied - A Paris - Creuzevault Editeur - Edition Numérotée 1950 - Tirage limité à 250 exemplaires, celui-ci sur Vélin du Marais (N° 203), signé par l'Artiste et l'Editeur - Fort in-4 (Etui : 27,5 x 33,5 cm) (Ouvrage : 26,5 x 33 cm) - (XIII) 278 pages + 1 page comprenant la Numérotation de l'Ouvrage et la signature de l'Artiste et de l'Editeur + 6 pages (plaquette de démonstration avec page de titre) + 1 page de Justification de Tirage & 57 Gravures - Etui cartonné beige imitation bois, bordures vertes, légérement frotté et sali - Belle Reliure plein Maroquin vert, signée Creuzevault, double filets d'encadrement argentés sur les plats intérieurs, très légérement frottée et salie - Dos lisse, titre argenté, légérement insolé - Tranche de tête argentée - Couverture d'origine conservée - Très bon état - Attention Poids : 4450 g.Le travail d'Impression et de Gravure pour cet Ouvrage a demandé près de 4 années, et certaines planches ont nécessité plus de 20 tirages successifs, elles ont été pressées par Gilbert Rougeaux. Très bel exemplaire, dans une reliure plein maroquin, signée Creuzevault. // Roland Oudot est né à Paris en 1897 et est décédé à Paris en 1981, influencé par les fauves et par les cubistes, il élabora peu à peu un style qui se situe dans la tradition classique de Corot et se rattache à la réalité poétique. Outre l'Illustration de livres, il est également l'auteur de peintures murales et de décors de théâtre. Mary Gladys Webb était une romancière Britannique (1881 - 1927), auteur de récits régionalistes dans la tradition de Thomas Hardy, Sarn fut écrit en 1924. Français [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Librairie L'Ancien Livre]
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        Monatsschrift für junge bildende Kunst und Dichtung. 1Jg., (12 Hefte, compl. Dez. 1950 - Dez. 1951).

      Zürich, Witikoner Handpresse, 1950/51 - 50 x 36 cm, je 4 Bl., mit je 5-10 orig.- graph. Abb., Lose Hefte., Hefte in gutem Zustand. Die ersten Nummern auf stark holzhaltigem Papier. Auflage 777 num. Ex. Nr. 26 (ausser der Nr. 1 die ist Ex. Nr. 646). Die Firmeninserate wurde ebenfalls im orig.- grafischen Verfahren abgezogen. Vorläufer der Zeitschrift «Spektrum» von Sven Knebel. Abb.( Handätzungen, Collagendruck, Lithogr., Holzschn., Linolschn.) von: P. Leber, R. Konrad, P. Baltensberger, F. Berger, K. Madrisch, G. Nouveau, E. Knebel, T. Zwicky, G. Mazars, J. Messagiers, G. Goulet, P. Lampert, J. Leppien, R. Veysset, F. K. Opitz, W. Gimmi, P. Derron, Nicolas, M. Catala, L. Maillet, O. Dalvit, A. Stocker, K. Hosch, M. Hellstern, A. Stocker, K. Anderegg, C. Forster, W. Kaufmann. Texte von:L. Schmied, R. E. Konrad, Hans Arp, H. W. Schenk, C. Bryen, E. Dickinson, M. Catala, A. Peer, M. Kutter, P. Lambert, G. Boudaille, R. M. Rilke, W.G. Bischof, J. Cocteau, Grimmelshausen, 1200 gr.

      [Bookseller: antiquariat peter petrej]
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        Autograph letter, signed, together with The Allahakbarries C. C.

      1934, 1950 - (1)ff. autograph letter, dated July 25th, 1934. A letter from J. M. Barrie to William Maldon "Bill" Woodfull, the Australian cricketer who captained both the Victoria and Australia cricket teams. Barrie comments on the fourth game of the 1934 Ashes series, in which Australia played against England, saying, "It was a glorious victory except statistically, and as such I think everyone accepts it. That partnership of Bradman and Ponsford goes into history." Barrie is referring to the partnership of legendary Australian cricket players Bill Ponsford and Donald Bradman, who set a world record for partnership in Test cricket during the final game of that series, leading Australia to win the series. Their record stood unsurpassed for fifty-seven years. It is clear that Barrie followed the matches with great interest. The fourth match was a draw, and Barrie speculates, "what a match it will make of the final one, which otherwise would drop into a minor place." Although best known as the author of Peter Pan, Barrie was an enthusiastic amateur cricketer, in spite of the fact that he wasn't particularly good at the game. He followed the sport and even organized his own team, the Allahakbarries, which played from 1890 to 1913. The team included many famous writers of the time, including A. A. Milne, P. G. Wodehouse, and Sir Arthur Conan Doyle. Together with a copy of the 1950 edition of The Allahakbarries C. C., a book that Barrie wrote about the team, which was first privately published in 1890. The 1950 edition includes a foreword by Donald Bradman, whom Barrie clearly admired. The book presents an illustrated history of the team and pokes fun at the team's lack of talent. Letter is in extremely fine condition. The book has some slight foxing to edges of the dust wrapper, which is price-clipped, has a few spots of soiling to the front panel, and some loss to spine ends. Text block slightly loose, else a very good copy. [Attributes: Hard Cover]

      [Bookseller: Bromer Booksellers, Inc., ABAA]
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        S. Bernardini Senensis Ordinis Fratrum Minorum Opera Omnia iussu et auctoritate Rmi P. Pacifici M. Perantoni (et Sépinski, Augustinus). Studio et Cura PP. Collegii S. Bonaventurae ad fidem codicum edita.,

      Ad Claras Aquas, Florentiae Quaracchi-Firenze (Florenz), Ex Typographia Collegii S. Bonaventurae 1950-1965. - ex-library copy with back-labels and stamps (Jesuits Library), binding slightly rubbed, otherwise very fine, text in Latin, Sprache: la Gewicht in Gramm: 19500 Folio (ca. 30x21 cm), bound in halfcloth,

      [Bookseller: Antiquariat An der Vikarie]
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        Miniature? Well, we call 'er that 'cause one minute yer on, an' the next minute yer off again.

      c. 1950 - Sheet size: 212 × 252 mm. Jan 8th Issue Bystander in blue pencil on verso, and Bystander no 1673 in pencil. Pen and ink on wove paper. The cartoons and illustrations of Nicolas Bentley (1907-1978) were part of the warp and weft of English popular culture in the 1950s and 60s. Never savage, though often waspishly accurate and exuding an urbane air of amusement at the foibles of his fellows, Bentley's work was familiar to the public from a wide variety of publications. Between 1952 and 1954 he drew regular cartoons for the weekly Time and Tide, and after that for the daily News Chronicle. Between 1958 and 1962 he drew topical cartoons for the Daily Mail under the title "Watch My Line." He also drew many portraits, in black and white line, of famous people, for various papers, including over sixty for the Sunday Telegraph, which began publication in February 1961.

      [Bookseller: Peter Harrington. ABA member]
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        Bebop dancing in the Club Eleven, London, in the background a few musicians.

      London, "Illustrated", 1950. original photograph, gelatin silverprint, 24,1 x 18,8 cm. Photograph no 2. Club Eleven, named after the number of founder members, began life just before Christmas in 1948. It was a co - operative arrangement designed to bring bebop to the attention of the jazz public at large. The musicians involved were Ronnie Scott, Hank Shaw, Leon Calvert, Johnny Rogers, Bernie Fenton, Tommy Pollard, Lennie Bush, Joe Muddel, Tony Crombie and Laurie Morgan plus manager Harry Morris. Johnny Dankworth and Denis Rose were regulars from the start. Some gave up steady work, Scott left Ted Heath, Fenton severed relations with Oscar Rabin, and Rose, Crombie, Muddel and Dankworth came from the now defunct Tito Burns orchestra. - This venue with these musicians were the first truly organised bebop sessions in Britain. With the star - studded assembly of musicians, Club Eleven became the focal point for the new jazz and the inspiration to many other young musicians throughout the country. - The music was played by the Johnny Dankworth Quartet comprising Dankworth, Bernie Fenton (pno), Joe Muddel (bs), and Laurie Morgan (d) and a band led by Ronnie Scott with Hank Shaw (tpt), Johnny Rogers (alto), Tommy Pollard (pno), Lennie Bush (bs), and Tony Crombie (d). The Dankworth quartet became a quintet when trumpeter Leon Calvert was added. - Mac's Rehearsal Rooms, 41, Windmill Street, (where the Moffat Club had been), became the first venue operating on Thursday and Saturday nights. The early months of the Eleven saw the highest peak of enthusiasm in the history of British modern jazz. The jazzmen continued to listen and study as many records of Charlie Parker, Dizzy Gillespie and Miles Davis that they could get hold of. Broadcasts, recordings, and concerts came in quick succession and public acclaim was such as to force a move within a few months to much larger premises at 50, Carnaby Street, satisfying the legions of fans coming from all over the country to the by now famous Club Eleven. It was now operating six days a week in the evening and was open in the afternoon as a meeting point for musicians. At this point Johnny Dankworth left to form his Seven taking Joe Muddel with him, and Harry Morris also quit. - Tony Hall writing in 1960 said "I can never recall such a sense of evil excitement in a club. The atmosphere was so vivid that the red glow from the stand and the savaget beat made me think of hell on earth!" - The phenomenal rise of the club, though dependent on the new jazz music it embraced, owed much to the personality of group leaders Ronnie Scott and Johnny Dankworth. - Unfortunately after this the early enthusiasm among the musicians began to wear off, they began to quarrel about the financial side of the club and the old spirit was gone. On the night of 15th April, 1950, Club Eleven was raided by the Drugs Squad. Six musicians appeared on drugs charges and Denis Rose was arrested by the Military Police as an Army deserter. The news of the arrest, trial and conviction of some of the Club Eleven members occupied the front page of almost every national paper in the size of type usually reserved for earthquakes or war. Though this publicity did nothing to lessen attendances, the decline of the Club Eleven was only a matter of time. There were a number of other factors contributing to the dissolution of an organisation that for the two years of its existence had a profound influence on its leading figures and devoted followers but it folded shortly afterwards. - - - Don Rendell remembers Club Eleven... A lot of jazz activity was consolidated by the formation of the 'Club Eleven' which was quite a milestone. It was the first regular paid modern jazz gig for London musicians, who ran it themselves. They used Mac's Rehearsal Rooms in Great Windmill Street. - Two groups were featured. One was fronted by Johnny Dankworth, with Leon Calvert on trumpet, Bernie Fenton on piano, Joe Muddel on bass and Laurie Morgan on drums; the other was led by Ronnie Scott, with Hank Shaw on trumpet and the rhythm of Tommy Pollard, Lennie Bush and Tony Crombie. The eleventh man was a non - musician the late Harry Morris, who, being a good businessman, took care of the financial side. When Ronnie Scott left to go on the boats to the States, I was asked to fill the vacancy in the Eleven. It was quite a closed circle that we had at the Club Eleven. I have the feeling that not everyone was very popular if they got up and tried to join in. Just those whose gig it was did the playing with very few exceptions. But the people didn't seem baffled at all by the new music we were playing. It seemed to be so obviously right. What we were hearing on record from Parker, Gillespie, the early Miles Davis, tenor players like Wardell Gray, Dexter Gordon, Stan Getz and Allan Eager - we just fell naturally into it. And the audiences just lapped it up. Through being there, of course, I got to meet Johnny Dankworth... (Extracted from 'A recap of twenty years of British Jazz', written in 1967 by Don Rendell. The full text can be read at Jazz Professional website.) - - - The Club Eleven and its music provided a base for many offbeat types, and the audience was involved with the music and the way of life that it implied. Little exists in print about what the Eleven was like from this point of view but the following might be of interest: "The musicians played what they liked as they liked - but it was mostly bebop and a lot more frantic than at Feldman's. There was no requests and no programme. If the music failed to please...well you didn't have to stay. But there were hundreds like myself who liked the music. So we stayed while some left. And the more we stayed the more the Club Eleven crept into the marrow of our bones..." Raymond Thorp: Viper (WDL Books, London 1960). KEYWORDS:england / london / bebop

      [Bookseller: Krul Antiquarian Books]
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        Conozca la Argentina [Meet Argentina]

      Buenos Aires: Cambytur S.A.. [circa 1950]. First. First edition. Oblong octavo. Spiral bound printed decorated boards with clear plastic dustwrapper, attached at the flaps to insides of the boards. Boards a little warped, and the plastic has pulled through a few of the spirals, but otherwise very good or better. Issued by a tourism agency extolling the virtues of Argentina as a tourism destination, and illustrated with 15 full-page original photographs mounted with captions in both Spanish and English on the verso of the preceding page. The photographs are unattributed, but wonderfully composed and presented. Very scarce. .

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

      - Lausanne, André Gonin, 1950. En feuilles : 26x34,5 cm. Ouvrage sur vélin du Marais pur fil à la forme, illustré de lithographies originales par Hans Erni (hors-texte et dans les marges). Couverture rempliée en papier beige. Chemise-étui en demi-parchemin et carton recouvert de papier mauve. Ensemble en excellent état. [Attributes: Hard Cover]

      [Bookseller: Librairie de l'Univers]
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        Daphnis & Chloé de Longus. Illustré de lithographies originales de Hans Erni.

      André Gonin, Lausanne, 1950 - 117pages, en feuilles, sous couverture en bristol recouvert d?une feuille de papier beige portant le titre sur le frontispice. Chemise en demi-parchemin imprimé sur le dos et papier violet avec inclusion de fils. Etui en plein papier vieux rose avec inclusion de fils. Les lithographies ont été tirées sur les presse d?Armand Kratz Arts Graphiques à Zurich. Texte version de Jacques Amyot, revue et complétée par Paul-Louis Courier et réalisé par Jean Graven.Tirage: 1 ex. unique, 12 ex. avec suite sur Chine et quelques dessins originaux, justifiés de A à L, et 136 ex. numérotés de 1 à 137. Cet exemplaire nominatif, porte le numéro 36, mais il a tout des caractéristiques du deuxième tirage, il comporte la suite des lithographies sur Chine, et un dessin original sur parchemin est fixé sur sur une page de garde (223x123mm). Bel exemplaire.

      [Bookseller: Bouquinerie du Varis]
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        La Comedie des animaux qu&#39;on dit sauvages. Illustrated by Paul Jouve

      Paris: Editions Rombaldi. [1950]. Copy on velin creme de Rives, from an unspecified issue; handsomely rebound in 3/4 dark blue morocco and marbled boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers, with a small animal illustration by Jouve, and backstrip bound in, fine. Illustrated with frontispiece and four plates by Paul Jouve, all original copper engravings heightened with pochoir. <br>See an <A HREF= >Image.</A><br>

      [Bookseller: Priscilla Juvelis, Inc.]
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        Captifs. Dix-huit Gravures avec un avant-propos par Georges Duhamel.

      Paris, Editions des Horizons, ca. 1950 - 2°, 3 S Text, 18 blattgrosse eingelegte Orig.-Radierungen, Lose Blätter (auf Velin) in Mappe u. in Schuber, Schuber min fleckig, sonst tadellos. Ex 90/ 330. 1 Blatt vom Künstler signiert, die restl. in der Platte monogram. Die Zeichnungen wurden von Ravéreau während seiner Kriegsgefangenschaft 1940 gemacht u. von Raymond Hassan radiert und abgezogen. 1200 gr. [Attributes: Signed Copy]

      [Bookseller: antiquariat peter petrej]
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        The Martian Chronicles

      Doubleday & Company, Inc. 1950 - Signed first edition, signed on title page. A near fine book and dj, minor sun-fading along book spine and top of flaps, otherwise excellent. Previous owner's name on front paste-down. Flap price reads $2.50. Comes in custom-made fold-out case. We will provide a certificate of authenticity. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookbid]
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