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

        Collection of six books from Julia & Paul Child's Paris apartment library

      1950. Rimbaud. Oeuvres (Paris: Mercure de France, 1950; Le Chanson de Roland (Paris: Piazza, 1947); Honore de Balzac (Paris: Bibliotheque Nationale, 1950); de Maupassant. Contes (Paris: Piazza, 1930). La Legende de St. Germain des Pres (Paris: Roulotte, 1950). Guide Commode de la Banlieue de Paris (Paris: Andre Leconte, 1950). Various sizes and editions. All signed by Julia Child. The final volume listed above is signed "Paul Child" but in Julia's hand, and the second to last is signed, "Paul & Julia Child, Paris, 1950", also in Julia's hand. The two were married in 1946 in Pennsylvania and moved to Paris in 1948. They lived on the left bank, at 81 Rue de l'Université, just off Boulevard St. Germain. These six simple and otherwise unremarkable books seem exactly the sort of thing a young couple in Paris might purchase while wandering the city. Now, titles like these are common fare for the bouquinistes, but most of these works were new publications during this time. La Legende de St. Germain des Pres, with photo illustrations of the youth, artists, literary lights, and nightlife of the Left Bank, forms a backdrop to our picture of Paul and Julia establishing themselves in Paris. All volumes in generally very good condition, with the exception of the Guide Commode, with some hinge wear and inking to the spine.

      [Bookseller: Rabelais - Fine Books on Food & Drink]
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        Sobre la libertad de creacion.

      19 x 14 cm. 12 unpaginierte S. OEnglisch-Broschur mit Klappenumschlag. Sehr gutes Exemplar. Kurzer Essay über die Schöpfungsfreiheit in der Kunst mit in den Text gesetzten farbigen Siebdrucken, als Künstlerbuch im Handsatz gedruckt anläßlich der ersten Ausstellung Goeritzin der Galeria Camarauz, seiner zweiten Ausstellung in Mexiko. Vorangegangen war am 3. März 1950 ein Künstlersymposion in der Galeria Arquitac, ebenfalls in Guadalajara, worauf sich der Text bezieht. Enthält eine montierte Abbildungstafel sowie 13 farbige in den Text und auf den Umschlag und die Innenklappen gesetzte Siebdrucke. Erinnert in seiner Diktion an die Künstlerbücher von Joan Miro. Beiliegend ein kleines Konvolut Ephemera der Zeit: 2 Karten der Galerie mit Motiven von Goeritz, "El Circo" und "Salvador de Auschwitz" 1 Katalogeinladung der Galeria Clardecor vom 28.9. - 14.10.1950 mit Skulpturen Goeritz 1 Einladung der Galeria de Arte Mexicano, 27.3. - 30.4. 1952 2 Ausgaben des Periodikums "ariel", Segunda Epoca Numero Tres / Numero Cuatro. Guadalajara, Jalisco, 1951 7 Schwarz-Weiss-Fotografien von Skulpturen und Ölarbeiten, verso vom Künstler handschriftlich betitelt, teils von den Fotografen gestempelt 1 sehr schöne, grafisch gestaltete Weihnachtsgrußkarte von Mathias Goertz mit einer farbigen Grafik, für 1950/51 im Kuvert. Materialien aus der frühen Phase des 1915 in Danzig geborenen, 1941 nach Spanien und 1949 nach Mexiko emigrierten Malers, Bildhauers und Architekten sind nicht nur in Europa heute ausgesprochen selten.

      [Bookseller: Antiquariat Querido]
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      Privately printed, 1950., N. P. - First edition thus. 8vo. Original pictorial, orange, stapled wrappers, [2], 20 pp., illustrated with two original photographs, preface. This story was first published in the Danville Gazette newspaper in June 1944, and told the story of five men who left Lizton at noon on September 8, 1878, for Texas. Their first encounter was with 200 red-shirted miners near Seelyville "who were either drunk or crazy or both. The street was filled with them, and they were fighting, and the language used was lurid, to say the least. Without warning, the mob attacked us with clubs, bottles and rocks, but thanks to the heavy canvas on our wagons we were not hurt." He describes Indian Territory: "In one valley there were teepees as far as the eye could see, all occupied by blanketed Indians. You could not tell a squaw from a buck, as they dressed just alike." Then his description of Texas: "North Texas was to us about the most lonesome spot on the earth. After going through Dennison and Dallas, we would travel a whole day over the rolling hills without seeing a person or a house." After all the encounters they did trade for a large farm in Brazos County. Includes a supplement by C. N. Hickman who was also on the trip. A very scarce and privately printed account. Noting on the title page: "Duplicated in purple ink." Fine copy. [Attributes: First Edition; Soft Cover]

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        A Town Like Alice

      Heinemann, 1950. Hardcover. Near Fine. A first edition, first printing published by Heinemann in 1950. A near fine book without inscriptions. Small patch of fading to the foot of the spine. Top stain still present. In an unclipped dust wrapper which has benefitted from some professional paper restoration to the hinges and spine and now presents as a near fine example.

      [Bookseller: John Atkinson Books]
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        Construction Workers on a Highrise.

      San Francisco, Calif., ca. 1950s. - Original zinc plate for the lithograph. 20 x 13 inches plate size. Unsigned. Provenance: Estate of the artist. Born in Cleveland, Ohio in 1919, Jason Schoener came from a family of distinguished American artists. He was the nephew of sculptor/painter William Zorach and his wife, painter Marguerite Zorach. Beginning in 1939, Schoener spent his summers at the Zorach family farm in Georgetown, Maine, where he studied art with his Uncle William. After service in the Pacific during WWII, Schoener served as an instructor, department chairman, and dean at California College of Arts and Crafts in Oakland, CA. Schoener's other teaching assignments included Mills College in Oakland, California, and the Athens Technological Institute in Greece. Meanwhile, Schoener continued to use his Georgetown and then Robinhood homes Maine as a summer studio. Over the span of almost two decades, Schoener had several solo exhibitions at the Midtown Gallery on East 57th Street in New York City. His works are in many museum and private collections, including the Oakland Museum and the Whitney Museum in New York. He died in 1997.

      [Bookseller: Wittenborn Art Books]
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        Oeuvres Complètes. (29 volumes).

      Paris, Gallimard. 1950 - 1987. 29 volumes. Wrappers (paperbacks) With portraits; 23 cm. Uncut, partly unopened. French text. - (covers sl. worn, some sl. dam. at edges) Although still very good set. See image. ¶ Contents: 1&2: Poésie. 414,ii pp., 526,ii pp.-- 3&4: Extrême Orient. 364,ii pp., 428,ii pp.-- 5: Connaissances. 336,ii pp.-- 6,7,8,9,10,11,12,13 & 14: Théâtre. 412,iv pp., 436,iv pp., 414,ii pp., 316,iv pp., 346,iv pp., 358,vi pp., 558,ii pp., 304,vi pp., 288,vi pp.-- 15: Positions et propositions. 328,ii pp.-- 16: Conversations dans le loir-et-cher. Contacts et circonstances. 446,ii pp.-- 17: L'oeil écoute. 338,ii pp.-- 18: Accompagnements discours et remerciements. 476,ii pp.-- 19,20,21,22,23,24,25,26 & 27. Commentaires et exégèses. 450,ii pp., 436,iv pp., 490,ii pp., 502,ii pp., 446,ii pp., 494,ii pp., 584,ii pp., 424 pp., 304,ii pp. 28: Commentaires et exégèses X: Supplément à mon livre sur l'Apocalypse - Supplément à l'Apocalypse. Excursus II - Textes religieux divers. 432,ii pp. & 29: Proses et poésies diverses. 728,ii pp.

      [Bookseller: Second Hand and Antiquarian Books Emile ]
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        To the voters of Oxford". [The Beer Broadside.]

      [Oxford, Mississippi: Oxford Eagle, 1950] - Single leaf broadside, printed on recto only. In fine condition. Faulkner's infamous and extremely uncommon "beer broadside" was distributed in his home town of Oxford prior to a referendum on the repeal of a local ban on the sale of beer, implemented in 1944. Faulkner refuted four of the claims made by clergymen in favour of the ban, after they had printed an advertisement in the local paper, the Oxford Eagle, "proclaiming the evils of drinking and the potency of four percent beer" (Blotner, p. 521). The Eagle refused to publish Faulkner's response to the clergymen, but agreed to print his broadside for circulation. It went on to be published in The New Yorker, and was described by editors as "the clearest and most concise prose" that Faulkner had ever written. However, to Faulkner's dismay, the ban was not overturned after Oxford voted 480–313 to renew it. In a follow-up letter to the editors of the Eagle, which they did publish, Faulkner wrote "I notice that your paper has listed me among the proponents of legal beer. I resent that. I am every inch as much an enemy of liberty and enlightenment and progress as any voting or drinking dry either in Oxford . I object to ministers of God violating the canons and ethics of their sacred and holy avocation by using, either openly or underhand, the weight and power of their office to try to influence a civil elelction" (Moreland, p. 414). The ban was partially overturned in 1972: the sale of beer was allowed, but could not be refrigerated, or sold on a Sunday. The remaining restrictions were overturned in 2013. Petersen D15a; Blotner, Faulkner: A Biography; Moreland, A Companion to William Faulkner.

      [Bookseller: Peter Harrington. ABA member]
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      Editorial America, Mexico D.F. 1950 - Pie de imprenta ficticio. Edición Clandestina del Partido Comunista Chileno. Publicacion por encargo de la direccion del Partido Comunista. Ejemplar sin abrir en muy buenas condiciones conservando las cubiertas originales en muy buen estado. 447 págs.

      [Bookseller: Valentin Peremiansky]
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        Quelques Aventures de Maître Renart. Burins de Joseph HECHT

      La Jeune Gravure Contemporaine, Editions Michel de Romilly, Paris 1950 - Présentation sous forme de feuilles flottantes. 76 pages. Achevé d'imprimer le 10 janvier 1950 sur les presses du maître-imprimeur Ernest Aulard à Paris, pour la typographie ; les cuivres de Joseph Hecht ont été tirés sur les presses à bras de Georges Leblanc à Paris. Il a été tiré de cet ouvrage 265 exemplaires. Notre exemplaire est l'un des 185 sur B.F.K. de Rives, numérotés de 36 à 220, après 2 tirages de tête (14+21), il est justifié 99. Suit un 4ème tirage de 45 exemplaires, aussi B.F.K. de Rives, destinés aux Sociétaires de la Jeune Gravure et numérotés romains H.C. et enfin un 5ème de 10 exemplaires de collaborateurs, marqués A à J. Couverture souple à rabat, lettrage en noir sur le plat. Sous chemise rigide assortie, lettrage en noir sur le dos. Emboîtement rigide, env. 35x27.5x3.3 cm. Etat : très bon. Emboîtement : bon, frotté, quelques salissures et marques légères. Chemise rigide : bon, infimes ombres de salissures. Couverture : très bon. Intérieur : très bon, une tache d'oxydation sur les pages avant le frontispice, quelques discrètes oxydation sur quelques pages. 33 x 26 x 1.8 cm 1310g. Couverture souple, chemise rigide [Attributes: Soft Cover]

      [Bookseller: ABC - Eric Girod]
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      Chapman and Hall, 1950. Hardcover. Very Good. A first edition, first printing published by Chapman and Hall in 1950. A very good+ book - author's presentation copy inscribed on the free front endpaper 'For Hugh Burnett/Souvenir of Stinchcombe/August 18th/Feast of St. Helena/from Evelyn Waugh/. The spine of the book is faded. In a near fine dust wrapper which is unclipped (small digits beneath the price). The usually fragile wrapper has survived due to the neat internal reinforcement making the dust wrapper near fine. A very attractive copy and complete with the rare Daily Mail wrap-around band. An association copy, as Burnett, who joined the BBC's Far Eastern Service at Bush House in 1949, was responsible for producing a radio interview on 'Personal Call' with Evelyn Waugh in 1953. It took place at Waugh's home in Stinchcombe, Gloucestershire. Burnett recalled that 'before we left he asked if we would accept a signed copy of one of his books. I asked for the one he liked the best - and he presented me with Helena'. In 1960 Burnett persuaded Waugh to appear as a guest in the legendary television series 'Face to Face', and during the interview Waugh said once again that he considered 'Helena' to be his most successful work.

      [Bookseller: John Atkinson Books]
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      Sauk City, Wisconsin: Arkham House, 1950. First edition. A fine copy in fine dust jacket. A lovely copy. (18636). Octavo, cloth. 553 copies printed. Tymn (ed), Horror Literature 6-17.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Yvette Guilbert Vue Par Toulouse-Lautrec

      Au Pont Des Arts, Paris, 1950. Folio sized collection of facsimile studies of one of the muses of the renowned post-impressionist artist. Cream paper covers with lithographic reproductions in color on both front and rear panel, wrapped in the original glassine, with loose pages gathered insde. Glassine is tanning with age, with some small tears and losses at the foot of the spine. Cased in a board folio with another complete set of the images printed in green. 2 other copies of "Columbine a Pierrot," one printed in black and the other in sepia, are also included in a paper folio. All are then cased in a paper covered board slipcase. Slipcase has some chipping at the edges and soiling from handling, but is intact with no cracks. There is some slight soiling to the verso of the 25th image in the book. Text in French. Number 99 of 150 in a semi-deluxe version limited edition that, with some variations, was apprised of 1,700 copies, the majority of which were not issued with the extra versions of "Columbine a Pierrot.". Wrappers with Slipcase. Very Good/No Jacket, As Issued.

      [Bookseller: Exquisite Corpse, Booksellers]
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        Computing Machinery and Intelligence.

      Edinburgh: Thomas Nelson & Sons, Ltd.,, 1950. [In] Mind. A Quarterly Review of Psychology and Philosophy. Volume LIX, Number 236, pages 433–460. October, 1950. Octavo (208 x 132 mm). Original grey paper wrappers printed in black. A bright and clean copy, extremities of wrappers nicked and creased with a few short tears. First edition, first impression of Turing's fundamental paper on artificial intelligence, and the introduction of the "Turing Test". In 1948 Turing was offered the role of deputy director of the Manchester Computing Laboratory, and his work there was "among the earliest investigations of the use of electronic computers for artificial-intelligence research. He was among the first to believe that electronic machines were capable of doing not only numerical computations, but also general-purpose information processing… He attempted to break down the distinctions between human and machine intelligence and to provide a single standard of intelligence, in terms of mental behavior, upon which both machine and biological organisms could be judged" (Aspray, cited in Origins of Cyberspace 936). In this paper Turing grappled with the question of whether electronic computers can think, and proposed a test, now called the Turing Test, to evaluate a computer's "thinking behavior". "The test involves two parties, 'X' and 'Y', who engage in a conversation by teletype. Human X cannot know whether Y is a machine or a person. If X believes that Y is responding like a person after a specified period of time, and Y turns out to be a machine, then that machine may be defined as having the capacity to 'think'" (Origins of Cyberspace 936). "The wit and drama of the 'Turing test' has proved a lasting stimulus to later thinkers, and a classic contribution to the philosophy and practice of artificial intelligence" (ONDB).

      [Bookseller: Peter Harrington]
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        Trees and Walls in Marin County.

      Marin County, CA: Circa 1950. - Watercolor. 15 x 22 inches. Signed in the image lower left. Elsie Lower Pomeroy was an artist most closely associated with the American Scene Painting movement and specifically California Regionalism or California Scene Painting. [Attributes: Signed Copy]

      [Bookseller: Wittenborn Art Books]
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        Western Express, Research Journal Of Early Western Mails, Vol I No. 1 Through Volume 64 #4

      San Jose: Western Cover Society / American Philatelic Society 1950 1951 1952 Etc., 1950. 1st Edition. Soft cover. Fine. Photographs, Reproductions, Etc. Throughout. 256 Issues Of This Multi-Award Winning Philatelic Journal, From Pre-Publication Flyer, 1950, Through Volume 64 #3 (2014), With All Indices And The Special New Mexico Territorial Post Offices Supplement Of 1958, Lacking Only Three Issues: Vol 22 #1, Volume 39 #2, Volume 56 # 1. All Fine. Early Issues Looseleaf Or Staplebound, All In Binders, Later Issues In Spine-Stapled Heavier Or Glossy Wrappers, Each Issue Loose, All Unmarked And Unworn. A Fine Archive Of Western History With Information On Places And Individuals And Illustrations Of Letters, Documents, Etc. Not Found In Other Sources. Note That A Few Issues Are Mis-Marked With Earlier Volume/Number Or Whole Number Enumerations, Errors, Only The Printed Date/Year Is Determinative For This Journal. [Also Included Are Many Binders Of Clippings Relating To Technical Postal Information, Circa 1940'S-1980'S]. Three Tightly Packed File Boxes, Probably 5 Boxes Shipping, Postage At Actual Cost [Probably About $100 By Media Mail]. About 5000 Of Pages, At A Price Much Less Than That Of Locating And Photocopying, And In Fine Condition Without Library Marks Etc.

      [Bookseller: Arroyo Seco Books]
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        La Comedie des animaux qu'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.

      [Bookseller: Priscilla Juvelis, Inc.]
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      Paris: Editions Rombaldi, 1950. Each volume numbered from an unspecified limitation. Fine, quite beautifully produced. Each volume numbered from an unspecified limitation. Five volumes from the collection. Each volume with five "Illustrations Originales En Couleurs" reproduced after the original editions. Uniformly bound in maroon crushed morocco with marbled endpapers, t.e.g., the spines with gilt titles and heart shaped designs in series of three. Original wrappers bound in. Titles: Demaison. La Comedie des Animaux Qu'on it Sauvages. Illus. by Paul Jouve. Toulet. La Jeune Fille Verte. Illus. by Denyse de Bravura. Montherlant. Encore Un Instant de Bonheur. Illus. by Marianne Clouzot. Voltaire. Candide ou L'Optimisme. Illus. by Maurice Van Moppes. Mac Orlan. L'Ancre de Misericorde. Illus. by Paul-Louis Guilbert.

      [Bookseller: First Folio]
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        Ceylon. Introduction by L.C. Van Geyzel and technical notes by Bernard G. Thornley.

      London: Lincolns-Prager Publishers. Original Hardcover (black cloth with gilt lettering on spine and frontcover) with original, price-clipped dustjacket in excellent (bery good + / near Fine condition. The rare, illustrated dustjacket with minor signs of wear but only one small tear to lower spine. No signs of taping or repairs, this dustjacket is as original as it gets. Only the jacket with some foxing. The volume itself in excellent condition. Overall a fantastic, original condition of this rare book.. London, Lincolns-Prager Publishers, 1950. 4°. 255 pages. Original Hardcover (black cloth with gilt lettering on spine and frontcover) with original, price-clipped dustjacket in excellent (bery good + / near Fine condition. The rare, illustrated dustjacket with minor signs of wear but only one small tear to lower spine. No signs of taping or repairs, this dustjacket is as original as it gets. Only the jacket with some foxing. The volume itself in excellent condition. Overall a fantastic, original condition of this rare book. Lionel Wendt (3 December 1900– 19 December 1944.) was a Sri Lankan musician , photographer, literature collector,[1]critic, and cinematographer. According to Pablo Neruda, Wendt "was the central figure of a cultural life torn between the death rattles of the Empire and a human appraisal of the untapped values of Ceylon." (Wikipedia)

      [Bookseller: The Time Traveller's Bookshop]
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      1950. First Edition . WENDT, Lionel. Lionel Wendt’s Ceylon. London: Lincolns-Prager, (1950). Quarto, original full black cloth, original photographic dust jacket. $1800.First edition, illustrated with 120 photogravures of Ceylon by Wendt.“Lionel Wendt’s Ceylon is typical of his photographic style-pictorialist-modernist in the English mode-and illustrates a clash of two cultures, with Wendt looking at his own culture almost like an outsider… Ostensibly a book of personal travel photographs, the usual tropes of the genre are here-lush landscapes, architectural and people studies-all heavily idealized. But there are also a fair number of nude studies, of both males and females… These are typically pictorialist in style, with some Surrealist photomontages thrown in to show that Wendt was thoroughly up-to-date” (Parr&Badger II, 98). Small bookseller ticket.Book fine, beautiful price-clipped dust jacket with expert tape reinforcement to spine head verso. An about-fine copy.

      [Bookseller: Bauman Rare Books]
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        Lionel Wendt's Ceylon

      London: Lincolns-Prager, 1950. First edition. Hardcover. Near fine in a just about near fine jacket, with the jacket showing some very slight rubbing to the front panel at the gutter, a touch of wear to the jacket spine at crown, some slight and forgivable soiling to the rear panel. No markings or inscriptions. A sincerely bright and attractive copy of this odd masterpiece (Parr, The Photobook, Vol. 2), known to be scarce in the jacket and scarcer still in a good one.

      [Bookseller: John Kehoe, Bookseller ABAA]
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      Lincolns - Prager Publishers Ltd., 1950. hard cover. Good/Good. London: Lincolns - Prager Publishers Ltd. (1950). 255 pp. Introduction by L.C. Van Geyzel. Technical note by Bernard G. Thornley. Hardcover w/ dust jacket. Dust jacket worn at edges, points, and seams with large chips to the top inch of the spine. There is also a large reddish stain to the rear panel. Spine quite soiled. Personal library stamp on the title page, and a large inscription on the first fly leaf. Edge points worn to boards. There is some staining to the verso of the last five illustrations (not affecting the actual plates -- just on the rear). Some scattered foxing throughout, not affecting the plates.

      [Bookseller: Parnassus Book Service]
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        Les justes EDITION ORIGINALE Grand papier ENVOI AUTOGRAPHE

      Paris: Gallimard, 1950. Fine. Gallimard, Paris 1950, 11,5x18cm, reliure de l'éditeur. - First edition, one of the copies numbered 1050 on alfa foam. Publisher's paper boards with an original design by Mario Prassinos. A handsome and important inscription from Albert Camus to René Char : " à René Char, frère de ceux-ci, dont il a fait toute la route avec l'admiration et l'affection de son ami. / Albert Camus". The friendship between Albert Camus and René Char is among the most touching and most fruitful in French literature.  There was nothing obvious to bring together the Algerian journalist and author and the Provencal poet, much less to suggest a mutual affinity. Camus had not come across Char's poetry and Char had no taste for novels, apart from those of Maurice Blanchot. Nonetheless, it is through their respective works that the two artists found out about each other and developed a mutual respect. So - before Camus and Char actually met - they had met through Caligula and Hypnos - both illustrating the poet's responsibility in the face of the violent world. "So in our darkness Beauty has no given space. All that space is for Beauty" (Char, Feuillets d'Hypnos). It is this mutual need for Beauty as a political response to the outrageousness of ideologies that united the two artists at the end of the war.  Catalyst to their friendship, this first "acknowledgment" inaugurated a twelve-year correspondence, during the course of which their mutual affection grew and revealed an artistic convergence:   "I believe that our brotherhood - on all levels - goes even deeper than we think and feel" (Char to Camus, 3 November 1951). "What a great and profound thing it is to detach oneself bit by bit from all that and all those who are worth nothing and to find little by little over the years and across borders a community of spirit. Like with many of us, who all at once feel ourselves finally becoming of 'the few'" (Camus to Char, 26 February 1950). These 'few' are a reference to a quotation from Gide: "I believe in the virtue of small numbers; the world will be saved by a few," whom Char and Camus tried to bring together in establishing the Empédocle review: "It is perhaps time that 'the few' Gide talked about came together," as Camus wrote to Guilloux in January 1949. They published writing by Gracq, Melville, Grenier, Guilloux, Blanchot, Ponge, Rilke, Kafka, and so on. However, internal dissension soon engulfed the review and they abandoned the project together.   Their friendship, however, remained unblemished. The two men met regularly in Provence, where Char was from and - thanks to him - Camus' adopted home. They showed each other their manuscripts and confided in each other with their doubts: "The more I produce the less sure I become. Night falls ever thicker on the artist's path, his way. Eventually, he dies completely blind. My only hope is that there is still light inside, somewhere, and though he cannot see it, it continues to shine nonetheless. But how can one be sure? That is why one must rely on a friend, one who knows and understands, one who is walking that same path."    They inscribed works to each other (the reprints of Feuillets d'Hypnos and Actuelles) and in each new copy wrote inscriptions in which they both reinforced their comradeship in arms and in spirit.  "to René Char who helps me live, awaiting our kingdom, his friend and brother in hope," (manuscript of The Plague). "For Albert Camus, one of the very rare men I admire and love and whose work is the honor of our times. René Char," (Fureur et mystère) "[to RENÉ CHAR], fellow traveler, this guidebook to a mutual voyage into the time of men, waiting for noon. Affectionately, Albert Camus," (Actuelles I) "For Albert Camus, whose friendship and work form a Presence that illuminates and fortifies the eyes," (Art bref). "Oh if only poets would agree to become again what they were before: seers who speak to us of all that is possible...If they only gave us a foretaste of virtues to come. Nietzsche." "To René Char, brother of the undersigned, with whom he has been there all the way, with admiration and affection from his friend / Albert Camus." This copy was doubtless inscribed in October 1953 along with the other "bound" copies (the Prassinos binding - cf. letter of the 23 October 1953). Camus had already presented Char with a first copy of this ode to his homeland, first published in 1939, well before their meeting: "To René Char, to bring back for us those years in which I did not know him, but which already held within them the reasons for our friendship." This second inscription on "these first Nuptials," underlines how this youthful work which celebrates the "nuptials of man with the world," is a precocious revelation of what they would go on to call their "fraternity with the planet". On Camus' death, Char published La postérité du soleil, the work they wrote together in 1952, an homage to their friendship and to that "hinterland which is the image of our own, invisible to others." A very attractive copy with an exceptional provenance. - [FRENCH VERSION FOLLOWS] Edition originale, un des 1050 exemplaires numérotés sur alfa mousse. Reliure de l'éditeur en plein cartonnage réalisée d'après la maquette originale de Mario Prassinos. Précieux et magnifique envoi autographe signé d'Albert Camus à René Char : " à René Char, frère de ceux-ci, dont il a fait toute la route avec l'admiration et l'affection de son ami. / Albert Camus". « Je tiens René Char pour notre plus grand poète vivant et Fureur et mystère pour ce que la poésie française nous a donné de plus surprenant depuis les Illuminations et Alcools » (Albert Camus, préface à l'édition allemande des Poésies de René Char, 1959). L'amitié entre Albert Camus et René Char figure parmi les plus belles et fructueuses de la littérature française. Rien ne semblait destiner l'écrivain journaliste algérois et le poète provençal à se rencontrer et encore moins à s'apprécier. Camus n'entendait rien à la poésie et Char n'avait aucun goût pour le roman, ceux de Maurice Blanchot mis à part. Pourtant, c'est par leurs œuvres respectives que les deux artistes se découvrent et s'apprécient. Ainsi avant Camus et Char se rencontrent Caligula et Hypnos, illustrant tous deux la responsabilité du poète face à la violence du monde. « Dans nos ténèbres, il n'y a pas une place pour la Beauté. Toute la place est pour la Beauté. » (Char, Feuillets d'Hypnos). C'est cette exigence commune de la Beauté comme réponse politique à la démesure des idéologies qui unit les deux artistes au sortir de la guerre. Ferment de leur amitié, cette première « reconnaissance » inaugure une correspondance de douze années au fil de laquelle croît leur affection mutuelle et se révèlent leur convergences artistiques : « Je crois que notre fraternité - sur tous les plans - va encore plus loin que nous l'envisageons et que nous l'éprouvons. » (Char à Camus, 3 novembre 1951). « Quelle bonne et profonde chose que de se détacher peu à peu de tout ce et tous ceux qui ne méritent rien et de reconnaître peu à peu à travers les années et les frontières une famille d'esprits. Comme on se sent beaucoup tout d'un coup à être enfin quelques-uns... » (Camus à Char, 26 février 1950) Ces « quelques-uns », référence à la citation de Gide : « Je crois à la vertu du petit nombre ; le monde sera sauvé par quelques-uns », Char et Camus tenteront de les rassembler en fondant ensemble la revue Empédocle : « Il est peut-être temps que les quelques-uns dont parlait Gide se réunissent » écrit Camus à Guilloux en janvier 1949. Ils publieront des écrits de Gracq, Melville, Grenier, Guilloux, Blanchot, Ponge, Rilke, Kafka... Les dissensions internes auront rapidement raison de la revue, et c'est ensemble qu'ils abandonneront le projet. Leur amitié, elle, est sans ombre. Les deux hommes se retrouvent régulièrement en Provence, terre natale de Char et devenue, grâce à lui, le pays d'adoption de Camus. Ils partagent leurs manuscrits, se confient leur doutes : « Plus je produis et moins je suis sûr. Sur le chemin où marche un artiste, la nuit tombe de plus en plus épaisse. Finalement, il meurt aveugle. Ma seule foi est que la lumière l'habite, au-dedans, et qu'il ne peut la voir, et qu'elle rayonne quand même. Mais comment en être sûr. C'est pourquoi il faut bien s'appuyer sur l'ami, quand il sait et comprend, et qu'il marche lui-même du même pas. » Ils se dédient leurs œuvres (la réédition des Feuillets d'Hypnos et Actuelles) et s'adressent sur chaque nouvel exemplaire des dédicaces qui, chacune, scellent leur fraternité d'armes et d'âme. « à René Char qui aide à vivre, en attendant notre royaume, son ami et son frère en espoir. » (manuscrit de La Peste) « Pour Albert Camus, un des très rares hommes que j'admire et que j'aime et dont l'œuvre est l'honneur de ce temps. René Char » (Fureur et mystère) « [à RENÉ CHAR], frère de route, ce livre de bord d'un commun voyage vers le temps des hommes, en attendant midi. Affectueusement Albert Camus » (Actuelles I) « Pour Albert Camus, dont l'amitié et l'œuvre forment une Présence qui éclaire et fortifie les yeux » (Art bref) « Ah si seulement les poètes consentaient à redevenir ce qu'ils étaient autrefois : des voyants qui nous parlent de ce qui est possible... Que ne nous donnent-ils l'avant-goût des vertus à venir. Nietzsche ». « A vous cher René, seul poète de votre temps à avoir répondu à cet appel, de la part de votre frère fidèle, A. C. » (Actuelles II) Cette communion atteint son paroxysme à la sortie des Justes et des Matinaux : « Le premier exemplaire des Matinaux sur papier de tête sera pour vous et envoyé par mes soins [...] Si tant est qu'un livre est écrit pour quelqu'un, c'est pour vous que celui-ci l'est (écrit et respiré). C'est un rare visage, affectionné et admiré, que celui que la pensée et le cœur appliquent sur la terre d'un livre. Tel est le vôtre. » Camus répond par cette dédicace sur le grand papier des Justes : « à René Char, le premier sur la route du soleil, C[es Justes] qui attendaient ses Matinaux pour être enfin justifiés, avec la fraternelle amitié d'Albert Camus. » Avant cet exemplaire, Camus avait déjà fait envoyer à Char un service de presse, sans dédicace « pour vous faire patienter. Celui que je vous réserve m'attend à Paris et je pourrai vous le dédicacer à loisir ». Notre exemplaire, lui, a sans doute été adressé en octobre 1953 avec les autres « reliés » (les cartonnages Prassinos - cf. lettre du 23 octobre 1953). Rédigée à cette date, la dédicace de Camus sur cette œuvre prend alors une nouvelle ampleur : dernier opus du cycle sur la révolte, Les Justes annonce la grande œuvre théorique de Camus, L'Homme révolté, qui lui vaut les foudres et l'inimitié de l'intelligentsia française, dont Sartre. Camus est très profondément affecté par la violente incompréhension de ses pairs. René Char, confident de la longue maturation de l'œuvre, est un des rares à défendre publiquement « ce grand livre de secours, pathétique et net comme une tête trépanée ». Peu de temps avant la sortie du livre, Char achevant la lecture du manuscrit, écrivait une lettre prophétique à son ami : « Après avoir lu et relu votre Homme révolté, j'ai cherché qui et quelle œuvre de cet ordre - le plus essentiel - avait pouvoir d'approcher de vous et d'elle en ce temps ? Personne et aucune œuvre. [...] j'ai admiré à quelle hauteur familière (qui ne vous met pas hors d'atteinte, et en vous faisant solidaire, vous expose à tous les coups) vous vous êtes placé pour dévider votre fil de foudre et de bon sens. Quel généreux courage ! [...] Comme c'est magnifique de s'enfoncer dans la vérité. » C'est justement cette vérité confrontée à sa propre violence dont traite Les Justes auquel Camus consacre d'ailleurs un chapitre entier de son essai. A propos des Justes, Char écrivait en 1949 : « une grande œuvre dont le cœur persistant n'a fait que commencer de battre ». En 1951, il s'engage « dans le grand combat [commencé dans L'Homme révolté] des seuls arguments - actions valables pour le bienfait de l'homme, de sa conservation en risque et en mouvement. » En l'incluant par sa dédicace dans ces Justes, Camus lui témoigne bien sûr sa reconnaissance pour son soutien mais plus encore souligne leur appartenance commune à l'infime communauté des « quelques-uns ». A l'instar de cette lettre qu'il adresse à Char le 26 octobre 1951, après la parution de L'Homme révolté : « Vous savez du moins que vous n'êtes pas seul dans cette recherche. Ce que vous savez peut-être mal c'est à quel point vous êtes un besoin pour ceux qui vous aiment et, qui sans vous, ne vaudraient plus grand chose. Je parle d'abord pour moi qui ne me suis jamais résigné à voir la vie perdre de son sens, et de son sang. [...] On parle de la douleur de vivre. Mais ce n'est pas vrai, c'est la douleur de ne pas vivre qu'il faut dire. [...] Sans vous, sans deux ou trois êtres que je respecte et chéris, une épaisseur manquerait définitivement aux choses. Peut-être ne vous ai-je pas assez dit cela, [...]. Il y a si peu d'occasions d'amitié vraie aujourd'hui que les hommes en sont devenus trop pudiques, parfois. » A la mort de Camus, Char publie La postérité du soleil, leur œuvre commune écrite en 1952, hommage à leur amitié et à : « cet arrière-pays qui est à l'image du nôtre, invisible à autrui ». Bel exemplaire d'une exceptionnelle provenance.  

      [Bookseller: Librairie Le Feu Follet]
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        Poetry London -- Volume 5, Number 20, November 1950

      (London: Editions Poetry). 1950. First. Magazine. Octavo. 32pp. Stapled wrappers. Scattered light wear, near fine. Includes the poems "Rural Idyll," "European Revels," and the reprint of "New Year in the Midlands" from issue #19 with corrections, which are the second published appearance by Nobel laureate Harold Pinter, credited here as Harold Pinta, and preceded only by his juvenilia. Additional contributions from Keith Douglas, Henry Moore, Martin Turnell, Iain Fletcher, D.G. Bridson, and many others. Tipped in the rear is the publisher's subscription form, as issued. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Watermarks, Mainly of the 17th and 18th Centuries (Monumenta Chartae Papyraceae Historiam Illustrantia)

      Hilversum, Holland: The Paper Publications Society, 1950. Hardcover. No jacket. Ex-university library. From the English Faculty Library, Oxford University. First edition. Number 54 of three hundred copies. Superficial marks and light scores on boards and spine. Leading corners, edges and spine are bumped and worn. Minor abrasions on spine. Lower leading corners are frayed. Shelf label and tape on spine. Page block and pages are lightly tanned and marked. Library stamps on early pages. Contents are clear throughout. Binding is sound. HCW. hardcover. Acceptable/No Dust Jacket. Ex-Library.

      [Bookseller: PsychoBabel & Skoob Books]
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        A Book of Mediterranean Food

      London: John Lehmann Ltd,, 1950. Decorated by John Minton. Octavo. Original red and white textured cloth, title to spine gilt on brown ground. With the dust jacket designed by John Minton. Frontispiece, vignette title, and illustrations by John Minton. Ownership annotations to 6 pages, including an index of favoured recipes to the rear free endpaper, and an original recipe for Hollandaise sauce; as the result of attempting David's recipe was "a mass of curds and whey". Spine gently rolled; an excellent copy in the jacket with slight nicks to extremities and a small chip to head of spine. First edition, first impression. David (1913–1992) taught herself Mediterranean-style cooking while living abroad during the early 1940s, and in 1949 she began writing a food column for Harper's Bazaar. This book was published to wide acclaim the following year, and she is now recognised for her profound influence on British culinary culture.

      [Bookseller: Peter Harrington]
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        MATEMATICAS PARA INGENIEROS (3 tomos) Tomo I: Análisis algebraico. Tomo II: Cálculo diferencial. Tomo III: Cálculo integral

      Ediar, Biblioteca Ediar de Ingeniería, 486/663/839 pgs., Buenos Aires 1950 - T. II: 1951. T. III: Roturita en puntas superiores de tapa superior, 1953. [Libro en Español / Book in Spanish] === CIENCIAS === [Attributes: First Edition; Hard Cover]

      [Bookseller: Buenos Aires Libros]
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        Knoll Index of Designs

      New York: Knoll Associates, Inc, 1950. 1st. Original Wraps. Collectible; Fine. A crisp, unusually well-preserved example of this 1950 1st edition of Knoll's Index of Design. Bright and Near Fine in its spiral-bound, silver card wrappers. Just a touch of very light soiling to the preliminaries and several minor, very subtle creases at the panels. Tall quarto, 80 pgs. Superb furniture catalogue --high-quality photography and state-of-the-art period (and Bauhaus-influenced) design thruout.

      [Bookseller: Appledore Books, ABAA]
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        Un mauvais rêve suivi de Notes et variantes établies par Albert Béguin et d EDITION ORIGINALE Grand papier

      Paris: Plon, 1950. Fine. Plon, Paris 1950, 13x20cm, relié sous étui. - First edition, one of 65 numbered copies on Hollande paper, the tirage de tête after 50 on Japon. Superb maroon morocco studded with gilt dots by Madeleine Gras, repair to foot of one joint, covers with design of spiral fillets to centre, red velour endpapers and pastedowns, covers and spine preserved, all edges gilt; slipcase edged in maroon morocco, lined in brown felt, wood-patterned paper boards. Slight marginal worming to blank endpapers. A very good copy in a handsome binding. - [FRENCH VERSION FOLLOWS] Edition originale, un des 65 exemplaires numérotés sur Hollande, tirage de tête après 50 Japon. Reliure en plein maroquin bordeaux constellé de points dorés, dos lisse, une restauration en pied d'un mors, plats frappés en leurs centres d'un jeu de filets en spirales, gardes et contreplats de velours rouge, couvertures et dos conservés, tranches dorées sur témoins; étui bordé de maroquin bordeaux, intérieur de feutrine marron, plats recouverts de papier façon bois, superbe reliure signée de Madeleine Gras. Légères piqûres marginales sur les gardes blanches de la reliure. Bel exemplaire parfaitement établi.  

      [Bookseller: Librairie Le Feu Follet]
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        The structure of the cloud of comets surrounding the Solar System and a hypothesis concerning its origin.

      [Leiden: Astronomical Institutes of the Netherlands], 1950. First edition, extremely rare offprint, of the proposal of the existence of the 'Oort cloud'. "Oort is generally regarded as one of the leading astronomers of the twentieth century. He performed very important researches in a number of areas, most notably on the structure and dynamics of the galactic system ... In comparison with his studies in galactic and extragalactic astronomy, Oort spent little time on solar system astronomy. However he did perform very important researches on comets. This line of study grew out of the researches of a student at Leiden, A. J. J. van Woerkom, who worked on comets' orbits. His interest piqued by van Woerkom's dissertation, Oort in short order developed his own theory of a cloud of protocomets that surround the solar system. He argued that when the solar system was formed, very many small bodies orbited between Mars and Jupiter. Over time, Jupiter's gravitational force acted to expel many of these objects from the solar system, but some were carried into highly elongated orbits that took them out from the Sun to distances between 50,000 astronomical units and 200,000 astronomical units. Oort further calculated that passing stars could redirect some of these bodies into the inner regions of the solar system, thereby producing a "new" comet. While Oort termed his scheme "speculative" when he advanced it in 1950, it had become widely accepted by the late twentieth century and his proposed cloud of comets has become known as the Oort cloud" (DSB). OCLC lists US Naval Observatory only. No copies in auction records. "The Oort cloud is a theoretical cloud of predominantly icy planetesimals believed to surround the Sun to as far as somewhere between 50,000 and 200,000 AU. It is divided into two regions: a disc-shaped inner Oort cloud (or Hills cloud) and a spherical outer Oort cloud. Both regions lie beyond the heliosphere and in interstellar space. The Kuiper belt and the scattered disc, the other two reservoirs of trans-Neptunian objects, are less than one thousandth as far from the Sun as the Oort cloud. The outer limit of the Oort cloud defines the cosmographical boundary of the Solar System and the extent of the Sun's Hill sphere. The outer Oort cloud is only loosely bound to the Solar System, and thus is easily affected by the gravitational pull both of passing stars and of the Milky Way itself. These forces occasionally dislodge comets from their orbits within the cloud and send them toward the inner Solar System. Based on their orbits, most of the short-period comets may come from the scattered disc, but some may still have originated from the Oort cloud. Astronomers conjecture that the matter composing the Oort cloud formed closer to the Sun and was scattered far into space by the gravitational effects of the giant planets early in the Solar System's evolution. Although no confirmed direct observations of the Oort cloud have been made, it may be the source of all long-period and Halley-type comets entering the inner Solar System, and many of the centaurs and Jupiter-family comets as well" (Wikipedia). Oort proposed the idea "as a means to resolve a paradox. Over the course of the Solar System's existence the orbits of comets are unstable and eventually dynamics dictate that a comet must either collide with the Sun or a planet or else be ejected from the Solar System by planetary perturbations. Moreover, their volatile composition means that as they repeatedly approach the Sun, radiation gradually boils the volatiles off until the comet splits or develops an insulating crust that prevents further outgassing. Thus, Oort reasoned, a comet could not have formed while in its current orbit and must have been held in an outer reservoir for almost all of its existence" (ibid.). "After studies at the University of Groningen, Oort (1990-92) was appointed astronomer to the Leiden Observatory in 1924 and became director in 1945, a position he held until 1970. In 1925 Bertil Lindblad of Sweden had advanced the theory that the Milky Way rotates in its own plane around the centre of the galaxy. Oort was able to confirm this theory in 1927 through his own direct observations of star velocities in the galaxy, and he modified the theory substantially into the form used thereafter. "Oort's subsequent work, as well as that of the school of astronomy he developed in the Netherlands, was directed toward strengthening and testing the Lindblad-Oort theory. Soon after having become a professor at the University of Leiden (1935), he determined by radio astronomy that the Sun is 30,000 light-years from the centre of the galaxy and takes 225 million years to complete an orbit around it. The discovery in 1951 of the 21-cm radio waves generated by hydrogen in interstellar space provided him with a new method for mapping the spiral structure of the galaxy. "In 1950 Oort proposed that comets originate from a vast cloud of small bodies that orbit the Sun at a distance of about one light-year, and the approach of other stars toward this cloud alters some comets' orbits so that they pass close to the Sun. The existence of this region, which was named the Oort Cloud, eventually came to be accepted by most astronomers. "From 1958 to 1961 Oort was president of the International Astronomical Union, of which he had been general secretary from 1935 to 1948" (Britannica). Offprint from Bulletin of the Astronomical Institutes of the Netherlands, Vol. 11, 1950. 4to (296 x 225 mm), pp 91-110. Stapled in self-wrappers, as issued. Very fine.

      [Bookseller: SOPHIA RARE BOOKS]
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        Western Express, Research Journal Of Early Western Mails, Vol I No. 1 Through Volume 64 #4

      San Jose: Western Cover Society / American Philatelic Society 1950 1951 1952 Etc., 1950. 1st Edition. Soft cover. Fine. Photographs, Reproductions, Etc. Throughout. 256 Issues Of This Multi-Award Winning Philatelic Journal, From Pre-Publication Flyer, 1950, Through Volume 64 #3 (2014), With All Indices And The Special New Mexico Territorial Post Offices Supplement Of 1958, Lacking Only Three Issues: Vol 22 #1, Volume 39 #2, Volume 56 # 1. All Fine. Early Issues Looseleaf Or Staplebound, All In Binders, Later Issues In Spine-Stapled Heavier Or Glossy Wrappers, Each Issue Loose, All Unmarked And Unworn. A Fine Archive Of Western History With Information On Places And Individuals And Illustrations Of Letters, Documents, Etc. Not Found In Other Sources. Note That A Few Issues Are Mis-Marked With Earlier Volume/Number Or Whole Number Enumerations, Errors, Only The Printed Date/Year Is Determinative For This Journal. [Also Included Are Many Binders Of Clippings Relating To Technical Postal Information, Circa 1940'S-1980'S]. Three Tightly Packed File Boxes, Probably 5 Boxes Shipping, Postage At Actual Cost [Probably About $100 By Media Mail]. About 5000 Of Pages, At A Price Much Less Than That Of Locating And Photocopying, And In Fine Condition Without Library Marks Etc.

      [Bookseller: Arroyo Seco Books]
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        Actuelles. Chroniques 1944-1948

      first edition, one of the 130 numbered copies on "pur-fil" paper, drawing of head after 23 Holland paper. Autographed autograph dedication of the author of Albert Camus to Max-Philippe Delatte: "... these memories of a combat ..." on the page of false title. Ex-libris of this last glued on a guard. Gallimard Paris 1950 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Classical Vinyl - Record - LP - Collection of Irish - Scottish Artist Bill Crozier. c. 380 LP's and Box - Sets of excellent classical recordings Crozier listened to during his work in his studio. Classical Music was part of his inspiration. / The collection includes many recordings of Tenors, Arias, Opera, etc. and comes together with several exhibition - catalogues of his work as well as one vintage photograph of Bill Crozier by irish photographer John Minihan. / Some rarer recordings include: Prokofiev - The Gambler / Count John McCormack - The Gentle Minstrel / The Art Shaliapin / H.J.Syberberg - Parsifal - Richard Wagner / Dvorak - The Great Symphonies and Concertos - Concertgebouw Orchestra, Amsterdam - Sir Colin Davis / Modest Mussorgsky - Boris Godunov / Georges Bizet - Carmen - Vincenzo Bellezza / The Art of Beniamino Gigli / Herbert von Karajan - Claude Debussy Pelleas at Melisande / Les Introuvables du Chant Wagnerien / Richard Wagner - Lohengrin - Konya - Amara - Gorr - Hines - Dooley - Leinsdo

      London and others. Very good condition. Few records with paint stains from Crozier handling the records while painting. Including world wide free shipping.. London and others, c.1950 - 1990. Vintage Viny Records. Very good condition. Few records with paint stains from Crozier handling the records while painting. Including world wide free shipping.

      [Bookseller: The Time Traveller's Bookshop]
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        American Fishing Books

      1950. WETZEL, Charles M. American Fishing Books. Newark, Delaware: [Wetzel], 1950. Quarto, original three-quarter black morocco gilt, raised bands, blue linen boards. $1700.Signed limited first edition, number 78 of only 200 copies, of this history of piscatorial publishing and bibliography of American imprints, illustrated with 34 facsimiles, signed by the author.“Prior to 1800 nothing of importance had been written either on the subject of fish or fishing in America… It remained for Samuel L. Mitchill and Constantine Samuel Rafinesque to furnish the impetus which marked the beginning of our knowledge of the fish existing in this country… The outgrowth of the following catalogue resulted from the amassing of a card index file of books relating to American fish and fishing. The original intent or purpose of the file was to have conveniently at hand a list of the fishing books in my collection; however, as time went on, it was broadened to include practically everything written on the subject.” A fine signed copy. Scarce.

      [Bookseller: Bauman Rare Books]
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        American Fishing Books, A Bibliography from the Earliest Times up to 1948, together with A History of Angling and Angling Literature in America

      Newark DE: Privately Printed, 1950. First edition, no. 35 of about 80 copies hand bound by the author, from a total edition of 200. Illustrated. 235 pp. 1 vols. 8vo. Original 3/4 black morocco, blue cloth sides, gilt spine title and sporting devices, A FINE COPY. Bookplate of Joseph Delaplaine Bates. First edition, no. 35 of about 80 copies hand bound by the author, from a total edition of 200. Illustrated. 235 pp. 1 vols. 8vo. THE MOST IMPORTANT BIBLIOGRAPHY OF AMERICAN ANGLING, AND A MUST FOR ANY ANGLING COLLECTION. Bruns W-73

      [Bookseller: James Cummins Bookseller]
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        Typed Contract signed, between Gary Cooper and Twentieth-Century Fox , to portray the role of "Lt. John Harkness" in the production of "THE FLYING TEA KETTLE" (aka YOU'RE IN THE NAVY NOW, 1951)

      Los Angeles, Calif, 1950. 14pp. 1 vols. 4to. Fine, in the original blue paper folder. 14pp. 1 vols. 4to. Cooper was to receive 3% of the gross receipts -- up to $350,000 -- for his role in the film which came out in the following year as YOU'RE IN THE NAVY NOW.

      [Bookseller: James Cummins Bookseller]
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        Mémoires de Jacques Casanova de Seignalt, 1734-1755, 1755-1772, extraits colligés par René Groos. Illustrations de Brunelleschi.

      Paris: Gibert Jeune, 1950. Livre. Illus. by Umberto Brunelleschi. Parfait. Reliure signée. In-4. Paris, Gibert Jeune, librairie d'amateurs, 1950. 26,5 x 20,5 cm (R), 2 volumes in-4, 343 (5) - 337 (6) pp. - 32 planches hors texte en couleurs dont deux en frontispice, illustrations dans le texte en deux tons, reliure de demi-chagrin à coins rouge pourpre, dos à 4 nerfs repoussés, têtes dorées, couvertures et dos conservés, étui (reliure signée Max Fonsèque). L'un des 100 exemplaires de tête comportant une SUITE en noir des 32 illustrations hors texte ainsi que les épreuves en noir de deux planches refusées (n° 40). Belles compositions à l'érotisme léger de Brunelleschi. Rare avec la suite. Très bel exemplaire agréablement relié par Max Fonsèque. (MONOD, 2323) (prévoir des frais de port pour 5 kg).

      [Bookseller: Des livres autour (Julien Mannoni)]
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      Princeton University Press, 1950-2003, Princeton, New Jersey: - Volumes uniformly bound in original gray cloth, with spine titles stamped in gilt. No dust jackets. First editions. Minor shelf wear, occasional endpaper pencil notes. Very Good. "Few if any of Jefferson's contemporaries recognized an obligation to history so clearly as he did, and none exceeded him in his effort to discharge the debt. Because of this conscious effort, and because of his complete identity with the national purpose as it was pursued during his day, this and succeeding volumes take on a significant meaning. They are, first of all, the record of a man's career. But also, since the achievements of Jefferson's long career were extraordinarily fruitful, these volumes may be regarded as being, in part, a record of the origin, formation, and early growth of the Republic." ['General View of the Work', Volume I]. [Attributes: Hard Cover]

      [Bookseller: David M. Lesser, ABAA]
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      Chicago: Shasta Publishers, [1950]. First edition. A near fine copy in a very good dust jacket, rubbing to folds, shelf wear with some mild chipping to spine ends (12281). Octavo, illustrated by Hulbert Rogers, cloth backed boards. One of an undetermined number of subscriber's copies with blank leaf signed by Heinlein inserted between the front free endpaper and half title leaf. A collection of short stories which is the first volume in Heinlein's "future history" series. See Anatomy of Wonder (1995) 3-89.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Three accordion-style oblong folio albums (355 x 230 mm.), containing 114 finely colored nihonga-style drawings of Japanese desserts on washi paper, by Eisen (Osamu) Kato, a prominent Kyoto artist, each with his seal (in two versions) stamped in the blank portion of image, various sizes (153 x 230 mm. to 127 x 180 mm.), mounted in the albums

      Ca. 1950-59. A magnificent collection of 114 original drawings of regional traditional Japanese desserts, most of them manufactured for tea ceremonies, by Eisen Kato. Kato, born to a samurai family, was a well-known Kyoto artist most famous for his portraits. He received important portrait commissions of prominent people and several of these works are now in the Kyoto National Museum. He was the disciple of Bairei Kono (1844-95), the famous painter, book illustrator, and art teacher at Kyoto. Kato was commissioned, amongst other important projects, to ornament the Seigen Temple near Kyoto and to provide paintings to the Higashi Hongan Temple in Kyoto. The first volume contains the most finished illustrations - 56 in all - of the desserts and are all executed on mica-impregnated washi paper. Each contains Kato's notes regarding the name of the sweet, name of the maker and location, and a stamp with the artist's name. Many of these companies are still manufacturing these sweets. The other two volumes contain another 58 slightly less-finished drawings of desserts on regular washi paper. Each of these contain Kato's notes, again in his hand, describing each confectionary product, its name, and the manufacturer's name and place. All the illustrations bear an illegible stamp but we believe it to be another version of Kato's chop. The illustrations in all the volumes are highly detailed and richly colored. Japanese desserts (wagashi), so disappointing to some Western palates, are one of the glories of the Japanese table. These albums can be dated by the mention on one of the illustrations of Crown Prince Akihito's wedding which took place in 1959. Preserved in a very elegant wooden box.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Some Tame Gazelle - SIGNED and with pencil list of Characters in the Author's Hand

      Cape, 1950. Hardcover. Very Good. A first edition, first printing published by Cape in 1950. Some wear to head and tail of the spine, and inner rear joint. A little loose in the binding. A very good example. Small early ownership name on front end paper. List in pencil identifying the characters in the Author's hand. Pym has written which character was based on friends, family etc. A very interesting list of names, including her sister Hilary. In a near fine unclipped second issue wrapper with a little wear to the corners. A fantastic find.

      [Bookseller: John Atkinson Books]
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