viaLibri Requires Cookies CLICK HERE TO HIDE THIS NOTICE

Displayed below are some selected recent viaLibri matches for books published in 1951

        A FINE COLLECTION OF 16 FIRST EDITION NOVELS. All First Edition and in Attractive Dust-Wrappers.

      London ;- Hutchinson. - 1979 1951 - A MOST ATTRACTIVE SET OF 16 VOLUMES. 8vo. First Editions. Excellent in original striking pictorial Dust Jackets. Titles include ;- "Mist Over Pendle", "Witch Bane", "Moon In Scorpio" "Hangman's Cliff", and a SIGNED First of "Crown And Mitre". Full list on application. Now Very Hard to Assemble in this Excellent condition ! (Extra postage required.) [Attributes: Signed Copy]

      [Bookseller: HALEWOOD AND SONS ABA ILAB Est. 1867.]
 1.   Check availability:     AbeBooks     Link/Print  


        The Catcher in the Rye

      London: Hamish Hamilton,, 1951. Octavo. Original blue boards, spine lettered in silver. With the dust jacket. Some nicks and tears to dust jacket extremities, case spine a little rolled, a very good copy. First UK edition, first impression. It was originally published in the US earlier the same year.

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


        From Here to Eternity

      Charles Scribner's Sons, New York 1951 - 861 pages. Octavo (8 1/2" x 6") bound in original publisher's black cloth with gilt lettering to spine. Inscribed by the author. First printing, with 'A' on copyright page, first issue jacket with authors photo on rear panel rather than reviews found on later issue jackets. Jones' first book, basis for the 1953 film starring Montgomery Clift, Burt Lancaster, and Frank Sinatra. From Here to Eternity is the debut novel of American author James Jones, published by Scribner's in 1951. It is loosely based on Jones' experiences in the pre-World War II Hawaiian Division's 27th Infantry and the unit in which he served, Company E ("The Boxing Company"). Fellow company member Hal Gould said that while the novel was based on the company, including some depictions of actual persons, the characters are fictional and both the harsh conditions and described events are inventions. From Here to Eternity won the National Book Award and was named one of the 100 Best Novels of the 20th century by the Modern Library Board. There were three screen adaptations. Condition: Inscribed by the author on the front free endpaper. A stamp on the front free endpaper reading "Book No" with the number 1035 in holograph but this is the trade edition not the "Presentation Edition". Jacket lightly edge worn; small tears to cloth at head of spine; book and jacket very good. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: The Book Collector, Inc. ABAA,IOBA,TxBA]
 3.   Check availability:     AbeBooks     Link/Print  


        The Catcher in the Rye

      Little, Brown, Boston 1951 - Hardcover. Fourth printing. A near fine book in a very good plus dust jacket. Some wear to the extremities and sunning to the jacket spine. Chipping at the head and foot of the jacket spine. This is the fourth printing in the first issue with back panel portrait of Salinger credited to Lotte Jacobi and price of $3.00 on the front jacket flap. An early printing of this classic American novel that introduced the world to Holden Caulfield. [Attributes: Hard Cover]

      [Bookseller: Sawtooth Books, ABAA]
 4.   Check availability:     AbeBooks     Link/Print  


        The Memoirs of Hebert Hoover: Years of Adventure 1874-1920; The Cabinet and the Presidency 1920-1933; The Great Depression 1929-1941: Three Volume Complete Set.

      New York: MacMillan, 1951-1952. First editions of each volume in the Hoover's memoirs. Octavo, 3 volumes. Each volume is signed by Herbert Hoover. Each are near fine in very good to near fine dust jackets. Includes: Volume One: Years of Adventure 1874-1920; The Cabinet and the Presidency 1920-1933; The Great Depression 1929-1941. An exceptional set, uncommon signed and inscribed and in the first printing. "It is doubtful if any other American public figure of comparable position has written any autobiographical fragment with anything like its unstudied and natural literary quality....His book is genuinely historic" (Newsweek).

      [Bookseller: Raptis Rare Books ]
 5.   Check availability:     ABAA     Link/Print  


        The Catcher in the Rye.

      London: Hamish Hamilton, 1951 - Octavo. Original blue boards, spine lettered in silver. With the dust jacket. Some nicks and tears to dust jacket extremities, case spine a little rolled, a very good copy. First UK edition, first impression. It was originally published in the US earlier the same year. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 6.   Check availability:     ZVAB     Link/Print  


        The Puppet Masters

      Doubleday & Company, Inc. New York 1951 - First Edition, First Printing. This copy is SIGNED by Robert Heinlein on a laid in signature. This ORIGINAL First Issue dustjacket is vibrant in color with minor wear to the edges. The book is great shape. The binding is tight with NO cocking or leaning and the boards are crisp with slight wear to the edges. The pages are clean with NO writing, marks or bookplates in the book. A superb copy of this TRUE FIRST EDITION SIGNED by the author. We buy SIGNED Heinlein First Editions. [Attributes: First Edition; Signed Copy; Hard Cover]

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


        Jaridat al Ahram, Tarikh Misr fi khamsin wa sab'ina sana (al- Ahram news paper, history of Egypt in 75 years), dedication copy to Ahmad Naguib al- Hilaly Pasha, the last Egyptian prime minister during the royal dynasty (prime minister of the 18 hours)

      Cairo: al- Ma'arif press, 1951 Book. Very Good. Hardcover. Signed by Author(s). 1st Edition. 4to - over 9¾ - 12" tall. Inscribed by the author to Ahmad Naguib al- Hilali Pasha and dated 1- June 1951. 552 p. Arabic text including many full page photographic illustrations on fine paper. The author was the professor of the Jurnalism history in the faculty of arts in the Egyptian University (Fouad I University). Original loosed hard covers. The most important expanded known work about the subject in Arabic..

      [Bookseller: Archive]
 8.   Check availability:     Biblio     Link/Print  


        They Came to Baghdad

      London: The Crime Club, 1951. First edition, first impression. Not Set. Octavo. Original red cloth, titles to spine in black Very good. With the author's signed presentation inscription to the front free endpaper, "To Dorothy (belatedly!) from Agatha"

      [Bookseller: Blakeney Griffin Booksellers Ltd]
 9.   Check availability:     Biblio     Link/Print  


        Inscribed photographic portrait.

      London: Vivienne, 20th Century Studios, [1951] - In fine condition. Silver gelatin print (196 x 155 mm) showing Churchill seated half-length in black formal jacket and bow-tie. Mounted, glazed and presented in a wooden frame (430 x 330 mm). Inscribed by Churchill on the mount: "To James Dunn from his friend of many years, Winston S. Churchill". James Dunn (1874–1956) was a Canadian industrialist and financier. He worked with Churchill during the First World War when he helped supply nickel from Norway. He was a man of great wealth and many eccentricities, such as having his shoe laces ironed, and commissioning thirteen different portraits of himself, including one by Salvador Dali. Photographer Florence Vivienne Mellish, known simply as Vivienne, was one of the leading society photographers of the mid 20th century. Her son also found success with society and show-business portraits, moving to Hollywood, and in 1949 marrying Churchill's actress daughter Sarah; "unfortunately Churchill and his wife learned of the marriage, which took place in the United States, from the newspapers, journalists having been speedier with the news than Sarah's own telegram" (Gilbert, Churchill, VIII, p. 496). At first both parents, but particularly Clementine "took it very hard indeed", but later "all was resolved. 'We have made friends with Antony's father and mother,' Clementine wrote to Sarah on December 20 [1949], 'and we had an agreeable luncheon together'". Subsequently Vivienne took Churchill's portrait many times, at her studio, and at Chartwell. More than 200 of her photographs are held in the National Portrait Gallery. With the photographer's stamp, "Vivienne, 20th Century Studios", and 10 Downing Street label dated 25 March 1954 on the verso of the print.

      [Bookseller: Peter Harrington. ABA member]
 10.   Check availability:     ZVAB     Link/Print  


        The Foundation Trilogy -- Foundation, Foundation and Empire and Second Foundation

      This listing is for the First State, First Printings of the FOUNDATION TRIOLOGY, a set of three fine condition stated first edition books by Asimov. With publication dates of 1951 for FOUNDATION, 1952 for FOUNDATION AND EMPIRE, and 1953 for SECOND FOUNDATION. Published by Gnome Press, New York. A handsome set of this trilogy consisting of fine first state dust jackets, and fine first edition books. Housed in a custom-made collector's slipcase.

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


        Personnage dans un jardin IV. Original-Farblithographie auf Velin. Signiert, datiert und nummeriert. Exemplar 72/75

      Format (Bildbereich): 36,5 x 58,8 cm. (Blattgröße 50 x 65 cm). Unter Passepartout, Gerahmt in Galerieleiste unter Glas. *Originale Lithographie der Edition Maeght in einer Auflage von 75 numerierten Abzügen. Rechts unten handsigniert in Bleistift und datiert 1951, links unten in Bleistift numeriert "72/75". - Tadellos erhalten.

      [Bookseller: Antiquariat Bernd Braun]
 12.   Check availability:     booklooker.de     Link/Print  


        Ansel Adams, struggling with finances and his father's illness, suggests a possible business venture, "We desperately need someone hereabouts to take up the task of encouraging people to purchase original prints and Portfolios...I guess I mean a type of 'creative agent'..."

      San Francisco, California, Aug - Nov 1951. 5.5” X 3.25”,8.5” X 11”,8.5” X 11”. "Archive Consisting of Two Typed Letters Signed, and One Postcard Signed from the period August 1951 – November 1951. (1) Typed Postcard Signed, “Ansel Adams”, August 7, 1951, one page, 5.5” X 3.25”, on printed “Ansel Adams” postcard, San Francisco, California, with unused printed “Ansel Adams” reply envelope. Addressed to “C.P.” [Chappie Packard]. Referring to the Portfolios in a previous letter, Adams writes, “Due to my father’s illness and other pressing matters it would be very helpful if you could pick the Portfolios up here…I suggest you call for them within this week; we do not know what will occur, and I may have to leave on a trip…” Adams’ mother had died March 22, 1950 with both Adams’ father, Charlie [Charles Hitchcock Adams], and Ansel by her side. Adams’ father never recovered from this loss, and died August 9, 1951, just two days after this postcard was written. Adams confessed in a letter to friends that he cried for the first time in his life when his father died. Light soiling and the usual folds; else fine condition. (2) Typed Letter Signed, “Ansel Adams”, November 5, 1951, one page, 8.5” X 11”, on printed “Ansel Adams Photography” stationery, San Francisco, California, with mailing envelope. Addressed to “Chappie Packard.” Adams thanks Packard for selling the Portfolios, “I am delighted that you had the display of the Two Portfolios, and am naturally much pleased that you disposed of them. / I regret that I did not take the numbers of the Portfolios – I should have these for my records – and the names of the purchasers as well – if possible and convenient for you to obtain them for me.” Adams tells Packard of an upcoming housewarming he will be invited to at his renovated “studio-residence."" “…I would take great pleasure is [sic] having you come over and see all the prints I have available. Unfortunately, my printing has suffered – in quantity especially – over the past several years, and I do not have too much to show. Most of my best work just was shipped off to the Art Institute of Chicago for an exhibit opening there November 15th. It then goes on to George Eastman House in Rochester. But I hope to get into the routine of creative printing soon!” Light toning and soiling to envelope, else fine condition with no tears. Letter is in very fine condition. (3) Typed Letter Signed, “Ansel Adams”, November 14, 1951, one page, 8.5” X 11”, on printed “Ansel Adams Photography” stationery, San Francisco, California, with unmatched mailing envelope to “Mr. H.C. Packard”, postdated March 4, 1950. An insightful letter from Ansel Adams as he admits he has difficulty promoting and selling his own work. He invites Chappie Packard to “think about” a relationship where Adams would create prints and photographs and Packard would be the “creative agent” to promote and sell them. In part, “…it seems that if you display prints, and can sell them, that you evidence a very considerable potential for service! And, of course, I infer that you should benefit thereby, too…We desperately need someone hereabouts to take up the task of encouraging people to purchase original prints and Portfolios…it is..the need for a dynamic approach …I guess I mean a type of ‘creative agent’…my bottleneck is entirely within the ‘sales’ (promotional) sphere…I am sure it would be a satisfying and profitable venture. Think about it…” According to author Mary Alinder in her biography of Adams, “Money had always been Ansel’s Achilles’ heel, and he had to scramble for it most of his life.” Light soiling and ragged upped edge to envelope. Typed Letter has the usual folds, else very fine condition. During the Depression, the Farm Security Administration (F.S.A.) hired photographers to document American rural life. In the 1930’s, Dorothea Lange was an F.S.A. photographer and Ansel Adams printed her photographs for her while she was out in the field in order to get feedback before they were sent to Washington, D.C. Chappie Packard worked in the California regional office of the F.S.A. during that time, so this may have been how the relationship between Packard and Adams began"

      [Bookseller: University Archives]
 13.   Check availability:     Biblio     Link/Print  


        The Caine Mutiny

      New York: Doubleday and Co., 1951 First edition, in the first state dust jacket with "The City Boy" to the rear panel. Publisher's blue cloth, lettered in metallic silver, pictorial endpapers illustrated with a map of the Caine's journey from September 1943 - December 1944; in the original pictorial dust jacket, illustrated with a painting by John Hull, lettered in white, yellow and black. A bright copy, with a sturdy spine, only a hint of light wear to the extremities, else fine; unclipped dust jacket, with a closed split to the bottom two-thirds of the spine at the front panel, two short losses to the rear panel (not affecting title lettering), a few minor chips to the spine ends, very minor dimming to the spine, some light rubbing to the extremities. Overall, a handsome copy in the first-issue dust jacket, free of any repairs or restorations. The Caine Mutiny is Herman Wouk's best-know novel and the winner of the 1952 Pulitzer Prize for Literature. Based on the authors' wartime experiences on a minesweeper in the Pacific Theater, it tells the story of the misguidance, resulting mutiny, and tumultuous weather that challenged the U.S.S. Caine and its crew during the later years of World War II. Notably, in 1954, The Caine Mutiny was adapted into a film of the same name starring Humphrey Bogart as the contemptable, mutiny-inspiring Captain Phillip Francis Queeg.. 1st Edition.. Hardcover. Very Good/Dust Jacket Included.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
 14.   Check availability:     Biblio     Link/Print  


        Variationen zu Arthur Honegger 'Der Totentanz'. Dichtung von Paul Claudel. Deutsche Fassung von Hans Reinhart.

      Wien, Linz und München, Gurlitt-Verlag, 1951. - Ca. 54 x 42 cm. 22 Blätter, davon 2 Faksimileblätter des Manuskripts von Reinhart sowie der Partitur Honeggers, mit 7 Original-Lithographien von Alfred Kubin (die 1. signiert). Eines von 80 Exemplaren der unnummerierten Ausgabe (insgesamt 200 Exemplare), die erste Lithographie von Kubin signiert. Raabe 727. "In Gedenken an die Festwochen 1950 und die glanzvolle Premiere Der Totentanz der Stadt Zürich gewidmet von Lilly Christiansen-Agoston ? u. Wolfgang Gurlitt". Ei9nband minimal angestaubt und mit kleinen Randeinrissen. Schönes Exemplar, als Blockbuch gebunden. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Rainer Schlicht]
 15.   Check availability:     ZVAB     Link/Print  


        PLATERO. Verso y Prosa. 21 números. (se publicarón 24 núms. a falta de los núms. 1, 2 y 22) + se incorporan : El Parnaso, (antecesor a Platero)nº 17 y 18, agosto y septiembre de 1949. 1 gran folio por núm. mecanografiado por ambas caras (copias del original) + 1 panfleto con la convocatoria de los Premios ¿Platero¿ y ¿Camilo José Cela¿ Cádiz 15 / 4/ 1951 + J. A. Hernández Guerrero.- PLATERO (1948-1954) Historia, antología e índices de una revista gaditana. Cádiz. 1984. 25x20 cm. 234 págs. 3 h. fotografías en b/n.

      - Cádiz. Patrocinado por la delegación Provincial de Educación Nacional / Diputación Provincial de Cádiz. Gráfs. La Voz del Sur / Imp. Rubiales. 1951 / 1954. Publicación mensual. 2ª época. 25x20 cm. s/p. (cubiertas + 12 págs.) 4 portadas diferentes con dibujos de José Pleguezuelo, José Caballero, Francisco Moreno Galván y Rafael Álvarez Ortega. Viñetas de diferentes pintores del momento. Escriben 114 autores en verso y prosa: J. M:ª Pemán / C. Edmundo de Ory / J. Eduardo Cirlot / Adriano del Valle / F. Quiñones / L. F. Vivanco / J. R. Jiménez / Caballero y Bonald / A. Gala Velasco / F. Garfias / Buero Vallejo / Blas de Otero / Carmen Conde / Gabriel Celaya / Aquilino Duque / Vicente Aleixandre / Gerardo Diego / Rafael Alberti / Luis Rosales / José Hierro / Pedro Salinas / C. J. Cela, ect. Ect.En algunos números, pequeños puntos de oxido del papel. Rara en comercio. # revista [Attributes: Soft Cover]

      [Bookseller: Librería Torreón de Rueda]
 16.   Check availability:     AbeBooks     Link/Print  


        Mapas españoles de América. Siglos XV-XVII. [Publicados por el duque de Alba]

      Madrid, Talleres Maestre, Hauser y Menet 1951 - Gran fol. (35 x 50 cm). XV-351 p., y colofón. Encuadernación editorial en carpeta en cartoné, con estuche. Monumental y estimada edición. Constituye sin duda una importante y valiosísima aportación a la cartografía americana. Se reproducen magníficamente 78 mapas, muchos a doble página y en color, con interesante descripción y estimadas notas de colaboradores como Angel Altolaguirre, Abelardo Merino, Vicente Castañeda y Alcover, Julio Guillén y Tato, Académicos de la Historia. Encabeza la obra prólogo del duque de Alba: “.Estos primeros navegantes ibéricos prestaron un servicio sin par a la Cristiandad occidental; ensancharon el horizonte, y por ende, las posibilidades de dominio de la sociedad hasta que llegó ésta a abarcar todas las tierras habitables y todos los mares navegables del globo.” Son, como indica el índice, 78 los mapas reproducidos. Los encabeza un bosquejo N.O. de la Isla la Española trazado por el propio Colón en lo que parece un apunte rápido del navegante, y que se conserva en la colección Alba. Tirada de 312 ejemplares en papel de hilo. [Attributes: Hard Cover]

      [Bookseller: Delirium Books · Susana Bardón]
 17.   Check availability:     IberLibro     Link/Print  


        Guy de Maupassant et son mal

      2 vol. de I : 32 pp., 1 pl. Lyon, Editions de la Guillotière, Albums du crocodile, 1951, in-8, 2 vol. de I : 32 pp, 1 pl. h.t et II : (6) de 33 pp. à 58 pp, 11 pl. h.t (feuillets publicitaires intercalés dans le texte), agrafé, couverture orange imprimée, Première édition de cette intéressante étude sur les pathologies de Maupassant, en particulier sa syphilis par le médecin et dermato-vénérologue Jean Lacassagne (1886-1960). Comme Lacassagne le précise dans l'introduction de son ouvrage : "la vie pathologique de Guy de Maupassant, sa fin prématurée et lamentable dans une maison de fous ont suscité, au cours des quinze premières années de ce siècle, un série de publications", mais peu de ces publications ne s'intéressaient jusqu'à présent de manière "satisfaisante" à la syphilis, maladie qui le tua indirectement : Maupassant décède d'une paralysie générale, lie à la syphilis, qu'il avait contracté seize ans plus tôt.

      [Bookseller: Librairie Alain Brieux]
 18.   Check availability:     maremagnum.com     Link/Print  


        Mouvements

      1951. Gallimard, Paris 1951, 25,5x32cm, broché. - Gallimard, Paris 1951, 25,5x32cm, broché. - Prima edizione, un numerate 1300 copie su pergamena speciale. Libro illustrato con 64 disegni di Henri Michaux. La nostra copia è arricchita con una lettera dattiloscritto Henri Michaux ha firmato in cui si rivela la sua corrispondente che "i testi sono pensati per essere letti pure. Ogni casa, solo nella sua stanza di comunicazione più ampia non dovrebbero, o di una presenza collettiva. " Inoltre alleghiamo una partita di due lettere circa lo sviluppo di uno spettacolo dedicato al progetto di Henri Michaux per il quale ha risposto negativamente. Bella copia. [FRENCH VERSION FOLLOWS] Edition originale, un des 1300 exemplaires numérotés sur vélin spécial. Ouvrage illustré de 64 dessins d'Henri Michaux. Notre exemplaire est enrichi d'une lettre tapuscrite d'Henri Michaux qu'il a signée et dans laquelle il révèle à son correspondant que "ses textes sont faits pour être lus ainsi : chacun chez soi, seul dans sa chambre. Une communication élargie ne leur convient pas, ni une présence collective." Nous joignons également une correspondance de deux lettres à propos de l'élaboration d'un projet de spectacle consacré à Henri Michaux pour laquelle il a donc répondu défavorablement.  Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
 19.   Check availability:     maremagnum.com     Link/Print  


        The Foundation Trilogy -- Foundation, Foundation and Empire and Second Foundation

      Gnome Press 1951 - This listing is for the First State, First Printings of the FOUNDATION TRIOLOGY, a set of three fine condition stated first edition books by Asimov. With publication dates of 1951 for FOUNDATION, 1952 for FOUNDATION AND EMPIRE, and 1953 for SECOND FOUNDATION. Published by Gnome Press, New York. A handsome set of this trilogy consisting of fine first state dust jackets, and fine first edition books. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
 20.   Check availability:     AbeBooks     Link/Print  


        DICCIONARIO BIOGRAFICO DE ARTISTAS DE CATALUÑA, JOSEP FRANCESC RAFOLS 1951-1954

      Editorial Millá. - Barcelona. 1951-1954. 25X18. Talleres Gráficos de La Ibérica. Rústica. 3 Vol. XXII+545p. IX+525p. 5h+630p. Ilustraciones y fotografies. Obra maestra de los artistas catalanes. Muy valorado. Primera Edición. Ref A-50 Biblioteca PMI. Language: eng [Attributes: First Edition; Soft Cover]

      [Bookseller: Libreria Anticuaria Marc & Antiques]
 21.   Check availability:     IberLibro     Link/Print  


        Bestie del 900. Con tavole incise in nero e a colori di Mino Maccari

      Vallecchi, (Firenze) 1951 - Legatura editoriale in mz. tela fig. con sovraccoperta a colori. Perfetto esemplare salvo minuscola mancanza al piede del ds. della sovrac. Edizione originale di questa celebre opera satirica che, nell occasione, si avvalse di un grande artista del 900 come Mino Maccari. Conservato all interno il foglietto editoriale. 4to (cm. 26), 164(8) pp. Con 16 incisioni in nero su linoleum n.t. e 30 tavv. f.t. con incisioni a colori su linoleum. [Attributes: First Edition; Hard Cover]

      [Bookseller: Libreria Ex Libris ALAI-ILAB/LILA member]
 22.   Check availability:     AbeBooks     Link/Print  


        Ergebnisse der Auktionen in Deutschland, den Niederlanden, Österreich und der Schweiz. Bd. 1 (1950) bis 4 (1953), 7 (1956) bis 9 (1958) und 11 (1960) bis Bd. 40 (1989) sowie Register zu Bd. 11-20; insgesamt 38 Bde.

      Hamburg bzw Stuttgart Hauswedell (-1990) 1951 - Bd. 1-9 in-8 mit je ca. 300-450 pp, Bd. 10-40 gr-8 mit je ca. 450-1000 pp; goldgepr. OLn.; Rücken teilweise aufgehellt, Schnitt meist etwas angestaubt oder fleckig, einige wenige Bände mit stärkeren Einbandmängeln. Umfangreiche Folge des bewährten Handbuchs, das seit Bd. 41 auch in digitalisierter Form erscheint. [Attributes: Hard Cover]

      [Bookseller: Wiener Antiquariat Ingo Nebehay GmbH]
 23.   Check availability:     ZVAB     Link/Print  


        Essai sur l'acupuncture chinoise

      X, 358pp., 11pl. Paris, D. Wapler, 1951, in-4, X, 358pp, 11pl, broché, PREMIERE EDITION de cet ouvrage très intéressant préfacé par George Soulié de Morant. 11 planches dépliantes h.t. en couleur représentant les méridiens et les points "chinois" à piquer.

      [Bookseller: Librairie Alain Brieux]
 24.   Check availability:     maremagnum.com     Link/Print  


        Autograph dedication signed. In: E. S.: Was ist Leben? Die lebende Zelle mit den Augen des Physikers betrachtet". 2nd edition.

      Bern, A. Francke, 1951. - 131 pp. . Contemp. cloth. 8vo. (= Sammlung Dalp, vol. 1). - Dedicated to the Austrian writer Franz Theodor Csokor in 1956. - Slightly browned due to paper; original wrapper somewhat spotty and with some damage to edges. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 25.   Check availability:     ZVAB     Link/Print  


        Histoire du roi Kaboul Ier et du Marmiton Gauwain

      59 pp. Paris, Les Cahiers Max Jacob, mars 1951, in-4, 59 pp, broché, couverture imprimée jaune, Premier cahier publié par les Amis de Max Jacob. Réédition du premier livre de l'auteur devenu introuvable, accompagné d'un autoportrait de Max Jacob, réalisé peu avant sa mort sur lequel il se représente jeune. A l'intérieur, un tirage photo du portrait de l'auteur dessiné par Picasso à la mine de plomb en 1915. Dans une lettre adressée à Guillaume Apollinaire du 7 Janvier 1915, Max Jacob parle de ce dessin : "Je pose pour Pablo dans son atelier. Il fait un portrait de moi au crayon qui est très beau ; sur ce dessin je ressemble à mon grand-père quand il était jeune, un vieux paysan catalan, et à ma mère." (Rubin, 1996, p. 191). Accident à la coiffe inférieure. En partie non coupé.

      [Bookseller: Librairie Alain Brieux]
 26.   Check availability:     maremagnum.com     Link/Print  


        A King's Story. The Memoirs of H.R.H. The Duke of Windsor. Signed Limited Edition

      London: Cassell & Company, Ltd. VG: in very good condition with slipcase. A little discolouration to boards. Browning at edges of prelims and eps. Teg. 1951. Limited Edition 62 / 250. Blue hardback leather cover with gilt device on front board and five raised bands. 240mm x 160mm (9" x 6"). xvi, 440pp. Signed by the Duke of Windsor ('Edward') on limitation page. Bound by Sangorski and Sutcliffe. .

      [Bookseller: Barter Books Ltd]
 27.   Check availability:     Biblio     Link/Print  


        Walt Disney's Donald Duck in Old California (Four Color #328)

      New York: Dell Publishing, 1951. 1st Edition 1st Printing. Soft cover. As New. Carl Barks. Comic Book. Standard format and size. First Printing. Very rare in this condition. AS NEW. Not read. All corners pointed. Binding tight, without stress creases and square. No tears, chips, creases or bumps. But for distributor's date stamp to cover, not marked in any way and very bright, highly glossy and clean. All comics carefully wrapped and sent boxed.

      [Bookseller: Tree Frog Fine Books and Graphic Arts]
 28.   Check availability:     Biblio     Link/Print  


        Der geordnete Verkehr in der Stadt.

      O.O. 1951 - Farbige Lithographie auf Hartem Karton. Bildgrösse: 68 x 87 cm. Herausgegeben vom Automobil-Club der Schweiz. [Attributes: Soft Cover]

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


        Siddhartha

      New York: New Directions, 1951. First American Edition. Hardcover. Very Good. First edition, first printing. First issue in slipcase with label pasted on rear, and lacking mention of photographer's name on copyright page. Near Fine with dulling to gilt stamping on spine. In a Very Good slip case which is lightly soiled. A rather lovely copy.

      [Bookseller: Burnside Rare Books]
 30.   Check availability:     IOBABooks     Link/Print  


        OBRAS COMPLETAS vol. I II NUEVA REVISION DEL TEXTO ORIGINAL CON NOTAS CRITICAS

      BIBLIOTECA DE AUTORE CRISTIANOS, 1951 1954. SPAGNOLO 1 Due volumi dell'opera, il primo edito nel 1951, il secondo nel 1954, entrambi con coperta rigida in tela ecru con titoli rossi al piatto ed al dorso, con lievi segni di usura, scolorita, ingiallita e con lieve fioritura, dorsi ingialliti, fioritura e polvere ai tagli, vari timbri biblioteche, pagine leggermente ingiallite causa tempo USATO

      [Bookseller: Biblioteca di Babele]
 31.   Check availability:     maremagnum.com     Link/Print  


        Origin Magazine: First Series (Near Complete Run: 18/20 Issues)

      Dorcester, MA: Origin Press, 1951-1957. First Printings (All 18) / Association Copies (All 18) / Signed and/or with Marginalia (All 18). Stapled Wrappers. Very Good-Fine. In 1950, Cid Corman was twenty-six years old & still living with his parents, but he had vigorously committed himself to a life in poetry. By 1950 Corman had already taken the very first steps that would establish him as a trailblazing, epoch-making American innovator, primarily through his efforts as a publisher of world (and, particularly American) literature. (Tom Clark, Charles Olson: The Allegory of a Poet's Life, W.W. Norton, 1991). After Corman finished graduate work at the University of Michigan and the University of North Carolina at Chapel Hill, he became dissatisfied with university admonishments and the state of American literature at large. Corman began to harbor dissatisfaction with what was then contemporary writing--an observation that was concurrently inciting a loosely-connected aggregate of nonconformist writers & artists stretching from San Francisco to New York--silently sprouting what would later manifest as a complete upheaval in American literary culture. The year before, in 1949, Corman (with the help of the late great jazz critic & legendary Village Voice columnist, author Nat Hentoff) founded what has been described as the first recurring poetry program in America, simply titled "This Is Poetry" which ran for a remarkable three years--hosting such heavyweights as Pulitzer Prize winner Theodore Roethke, and also notably providing the stage for Robert Creeley's first public poetry reading. (Peter Brooker & Andrew Thacker, ?The Oxford Critical and Cultural History of Modernist Magazines: Volume II: North America 1894-1960.? Oxford University Press, 2012). It was Corman's talks with Creeley, initially, that birthed the idea for a new magazine--as one must remember, even James Joyce's maginitudinous "Ulysses" and, to harken earlier back, Joseph Conrad's "Heart of Darkness" were published serially in magazines. Magazines were the idealized primary source for the widespread dissemination of literature; it was magazines like "Poetry," after all, that were presenting "Movements"--such as they famously did with Objectivism in 1931. Creeley asked Corman to help him find new work of quality for a magazine Creeley himself was trying to assemble--a project for him that never emerged. However, a key donation materialized from a wealthy & intelligent patroness named Evelyn Shoolman, who presented Corman with $550 and the encouragement to edit the magazine himself. Also around this time, Corman began his correspondence with Charles Olson through Creeley and poet Vincent Ferrini, then also living in Gloucester, Massachusetts near Olson. (ibid) An incredibly important moment in the history of Origin Magazine (and American Literature forever) came in October 1950, when Olson's legendary "Projective Verse" essay was first published in New York. Olson was soon awarded widespread respect from his contemporaries and his heroes with the essay's publication--even William Carlos Williams, arguably the primary link between Literary Modernism and Mid-Century American Poetic Development?afforded Olson the praise of writing "...the most admirable piece of thinking about the poem I have recently, perhaps ever, encountered." (ibid) Astonishing praise for Olson from a friend and cardinal contemporary of Ezra Pound, whose globe-spanning literary efforts and shamelessly didactic manifestos had by this point completely infiltrated the minds of almost all contemporary authors like religions inherited by succeeding generations. Coming from Williams, it was a hefty compliment to say the least. By this time, young Cid Corman had finally found himself in a position of incredible opportunity--on friendly enough terms with a finally-recognized genius in Charles Olson (who was a little over 40 years old at this point) and a vocationally-charged Robert Creeley, who was two years younger than Corman and just over 24. Both men were taken enough with Corman to believe in his vision & commitment to poetry, and they would both soon be published as the featured authors in Origin 1 and Origin 2 in Summer and Fall of 1951, respectively. A mind-blowing cognition comes with understanding the significance of Origin?s early appearance when charting mid-century American literary innovation. To start, here?s a few facts: the year is 1951, and the Beat Generation as a literary and cultural phenomenon has not extended its influence further than the original friend group it comprised. Jack Kerouac has just finished typing the Original Scroll of ?On The Road,? a book that would not be published until almost 6 years AFTER the first Origin Magazines were published. 1951 is also 5 years before the appearance of Allen Ginsberg?s monumental ?Howl & Other Poems,?--and Robert Creeley, a poet later very friendly with and often categorized within The Beat Generation--was already publishing in Origin as a featured & celebrated contributor. Origin Magazine did not represent nonconformity as a social device for change as much as, say, Ed Sanders? "The Fuck You Press" did, & as many later pioneers of the mimeograph revolution & the small-press movement on the west coast (City Lights & Dave Haselwood?s Auerhahn Press among them) would eventually come to represent. Origin was about changing the ART--perfecting the art, reclaiming it--and its main aim was providing a legitimate alternative, as opposed to culturally legitimizing social freedoms then-condemned. The work would speak for the poets--the poets would not speak for the work. In this vein, Origin signaled an even more radical departure in some issues with the absence of the poet?s name on the page his work appeared. At the beginning of every issue, Corman would list the contributors; including a brief, one or two sentence bio, and list the pages on which a given author?s work appeared. When you read the magazine sequentially, as you would read any other book, you wouldn?t know precisely who was the author of the selection you presently read until you became familiar enough with the style of a poet to draw a demarcation. Perhaps this originates in Corman?s own proclaimed fondness for anonymity, and his belief that the power of personality could obscure the perception of profundity in a work. In any case, this prestigious, near-complete run of Origin Magazine has a history of incredible provenance worthy of the most exacting collector. These 18 issues are from the collection of Clayton Eshleman; poet, prose essayist, and prolific translator of Cesar Vallejo & Surrealist authors Antonin Artaud and Aime Cesaire. Eshleman first made contact with Cid Corman in 1959, sending a small collection of ?attempts at poetry? to Corman--only to be dealt back a snarling get-serious-or-stop-writing response from the brilliant-yet-prickly editor (ibid). Later, Eshleman moved to Kyoto, Japan just around the time Corman was returning from his American visit, ostensibly to procure funding for the Second Series of Origin (according to Eshleman). Eshleman would often go to visit Corman at The Muse Cafe in Kyoto, which was, as Eshleman relates, Corman's "office," in effect. During their time together at the Muse, Eshleman listened to Corman sermonize about his perceived rights-and-wrongs of modern literature, and why they were in dire need of redressing. They also embarked on the even more profitable endeavor of translating together, and Eshleman got to work firsthand beside one of the most prolific translators of French & Asian literature into credible, pioneering English translations. This early mentorship was invaluable to Eshleman, who would later translate the complete poems of Antonin Artaud and Aime Cesaire, as well as distinguished selections from many other important figures. This history considered, only a collection of Origin Magazines owned by Corman himself could be of greater importance or rarity, and it is remarkable that this collection should appear on the collector's market and has not yet been snatched up by a university Special Collections department. Eshleman is a direct descendent in a line of apprenticeship beginning with Edward Dahlberg's mentorship of Charles Olson, Olson's mentorship of Cid Corman, and Corman's mentorship of Eshleman. A remarkable web of consanguineous pedigree woven together by, in Olson's phrase, a commitment to "Saturation Jobs," and, in Eshleman's words, a lifelong dedication to "The Whole Art." Here are the issues in chronological order: (1) Charles Olson, Spring 1951. The very first issue published by Cid Corman under the Origin flag, this incredible collectible boasts the claim of the first publication of the cardinal Maximus poem, ?I, Maximus, Of Gloucester, To You??a poem Olson began in May of 1950 which would snowball into a fragmentary Epic scholars would thrust into the stratosphere of T.S. Eliot?s ?The Waste Land? and Ezra Pound?s ?Cantos.? (Ralph Maud, "The First Maximus Poem." Charles Olson Society, Apr. 1999). Also featured in this earliest of issues are poets Paul Verrier, Samuel French Morse, Vincent Ferrinni (one of the creative instigators of Olson?s first ?Maximus Letters?), a sampling of Cid Corman?s Catallus translations, and William Bronk. Also featured are William Carlos Williams, Katherine Hoskins, Richard Writz Emerson of Golden Goose Press, Constance Hatson, Robert Creeley, and Richard Eberhart (ibid). Eshleman?s signature appears in black ink at top right-hand corner of first page and reads: ?Clayton Eshleman / Kyoto 1963(?).? Eshleman?s marginalia appears particularly on pg. 25/?The Story of an Olson,? and is historic in Olson?s permeating influence on Eshleman?s poetic development. (2) Robert Creeley, Summer 1951. Very much like the cardinal Olson issue listed above, this publication is analogously one of the earliest outlets Creeley ever published through. So early, in fact, that it predates the publication of his very first official solo tile, ?Le Fou,? put out by Richard Emerson?s Golden Goose Press, who also (as noted above) was a contributor in Origin 1. Contributions by Cid Corman, Paul Verrier, Paul Blackburn, Charles Olson, Denise Levertov, Katherine Hoskins, and Stuart Perkoff are also included. Eshleman?s signature appears in black ink at top right-hand corner of first page and reads: ?Clayton Eshleman, / Kyoto 1963?. (3) William Bronk / Samuel French Morse, Fall 1951. Featuring work by the title contributors, Charles Olson, Richard Wilbur, Robert Creeley, Harry Smith (not to be confused with eclectic American folklorist) and prints of incredible woodcuts by Dick Boyce. Eshleman?s signature appears in black ink at top right-hand corner of first page and reads: ?Clayton Eshleman / Kyoto 1963?. (4) ?New Foreign Poetry,? Winter ?51-52. Contributions by Rainer M. Gerhardt, Paul Verrier, Paul Blackburn, Franco Neri, Klaus Bremer (also featured in City Lights Pocket Poets No. 11, edited by Jerome Rothenberg), Nemi D?Agostino, Philippe Thoby-Marcelin, and is rounded out by a more familiar list of authors in Charles Olson, Cid Corman, James Merrill, and Robert Creeley. A notable inclusion from Olson in this issue is his exceptional ?Human Universe? essay. Eshleman?s marginalia appears heavily at Olson?s ?Human Universe? essay, and provides (again, as elucidated above) the power of Olson?s towering influence and its formative force on Eshleman?s poetic development. (5) Wallace Stevens, Spring 1952. Wallace Stevens, one of the undisputed giants of Modernist poetry, was remarkably still alive during 1952 and corresponding with Cid Corman, who he gave permission to print an issue of Origin focused on his work. It is illuminating to note the continuum factor of mid-century American poetic development when considering Corman?s publication of Stevens just three years before his death in 1955. This link between Corman and Stevens echoes the link of William Carlos Williams with the many writers who characterize Beat literary sensibility. These links--Corman and Stevens, Williams and Allen Ginsberg, say--further elucidate the continuum factor mentioned above. The issue is comprised of Samuel French Morse?s essay on Stevens, as well as a ?new poem by Wallace Stevens, LONG AND SLUGGISH LINES.? Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman.? (6) Robert Duncan / William Carlos Williams, Summer 1952. This, like Origin 1 and Origin 2, marked another absolutely earth-shaking issue for the American poetic community. William Carlos Williams, as alluded to above, was in many ways THE primary link between Literary Modernism and mid-century American poetic development?largely, one could say, because of the open mind he had toward the vibrant, youthful voices who claimed they were his poetic descendants. Excerpts from Williams? ?The Desert Music? are included here. Also featured is legendary San Francisco poet Robert Duncan, whose impeccable scholarship, cosmopolitan awareness & infallible sense of the movement of language legitimized his efforts from the first word. Paul Blackburn, Charles Olson, Vincent Ferrini, Denise Levertov & William Bronk further endow this famously potent issue of the legendary literary journal. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?12 May 1963 / Clayton Eshleman / Kyoto.? (7) Gottfried Benn / Theodore Enslin / Cid Corman, Autumn 1952. Featuring work by the title contributors, Kathleen Raine, Gottfried Benn, Rene Laubies, Edgar Lohner, and Robert Creeley. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (9) Harold Dicker / Denise Levertov / John Hay, Spring 1953. Featuring work by the title contributors, Leonard Casper, Robert Duncan, Seymour Gresser, Theodore Enslin, Paul Blackburn, and Larry Eigner. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (10) ?New German Poetry,? Summer 1953. Featuring contributions by William Carlos Williams, Cid Corman, Robert Creeley, William Bronk, Denise Levertov, Paul Blackburn, Gael Turnbull, Larry Eigner, Theodore Enslin, Gottfried Benn, Erhard Manfred Gaul, George Forestier, Albert Arnorld Scholl, Hans Egon Halthusen, and Charles Olson, misspelled here as ?Charles Olsen.? Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (11) ?Antonin Artaud & New French Poetry,? Autumn 1953. Featuring contributions from Claude Vigee, Antonin Artaud, Rene De Obaldia, Paul Blackburn, Francois Caries, Julien Alvard, & Philippe Jones. This issue, in particular, is extremely significant in that it was THE edition of Artaud?s work that initially so impressed Clayton Eshleman and spurred what would become a lifelong inquiry into his life & work--one of Eshleman?s most pronounced ?Saturation Jobs.? It was not just this EDITION that spurred this investigation, it was THIS BOOK. And now, 64 years after Eshleman received this issue, the English language is endowed with the most enduring English translations of Artaud ever conceived. CE is currently preparing a complete English version of the Collected Works of Antonin Artaud for when the mystic-Surrealist poet?s work enters the public domain in 2018. Insightful marginalia appears extensively throughout all sections attributed to the title author. Eshleman has hand-signed his name in dark blue/black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / 10 February 1963 /Kyoto.? (12) Larry Eigner / Paul Carroll, Spring 1954. Featuring work by the title contributors beside work from Robert Creeley, William Carlos Williams, Irving Layton, Charles Olson, Robert Duncan, Gael Turnbull, Theodore Enslin, William Bronk, & Paul Blackburn. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (13) David Galler, Summer 1954. Featuring work by the title contributor alongside contributions from Robert Creeley, Theodore Enslin, Paul Blackburn, Thomas F. Williams, a notably early appearance from Ed Dorn, Harold Dicker, E. Jordan, Wade Donahoe, Sanford Edelstein, Eugenio Montale, Seymour Gresser, Larry Eigner, Donald Finkel, Thomas Brackley, Gael Turnbull, Edith Reveley, John Logan, & Denise Levertov. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (14) Irving Layton, Autumn 1954. Featuring work by title contributor alongside contributions from Denise Levertov, Joel Oppenheimer, Larry Eigner, Theodore Enslin, Robert Creeley, Wade Donahoe, and Robert Duncan. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (15) Paul Blackburn / Wade Donahoe, Winter-Spring 1955. Featuring work by title contributors alongside contributions from Cid Corman, Fernao Mendes Pinto. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (16) Antonin Artaud / Henri Michaux / Rene Char, Spring-Summer 1955. Featuring work by title contributors alongside contributions from Robert Creeley, Charles Olson, Federico Garcia Lorca, Van Haardt, Paul Carroll, Giuseppe Ungaretti, Astrid Claes, Gael Turnbull & Cid Corman. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / 10 February 1963 / Kyoto.? Interestingly enough, this is the same inscription found on Issue 11 (as noted above). One must conjecture the poet ?dove into? both issues in a single day, as it were. (17) Denise Levertov / Robert Creeley / Irving Layton, Fall-Winter 1955-6. Featuring work by title contributors alongside contributions from Paul Blackburn, Wade Donahoe, & Cid Corman. . Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (19) Astrid Claes, Summer 1956. Featuring work by title contributor alongside contributions from Henri Michaux, Paul Blackburn, William Bronk, Gael Turnbull, Larry Eigner, Robert Creeley, Charles Olson, & Cid Corman. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? (20) Margaret Avison, Winter 1957. Featuring work by title contributor alongside contributions from William Bronk, Patrick Fetherston, Robert Cooper, Alan Brownjohn, Roy Fisher, Martin Seymour-Smith, John Manson, Larry Eigner, Denise Levertov, Theodore Enslin, Cid Corman, Wade Donahoe, Antonin Artaud & Andre Breton. Eshleman has hand-signed his name in black ink at the top right-hand corner of the first page. Signature reads: ?Clayton Eshleman / Kyoto 1963.? There are only two missing issues in the near-complete run offered here: Origin 8 & Origin 18. Origin 8 is Charles Olson?s ?In Cold Hell, In Thicket? and, unlike the Origins offered here, was wholly an Olson feature. That book was a collaboration done between Origin Press and Robert Creeley & Ann MacKinnon?s ?Divers? Press.? The book was assembled with Creeley and Ann living on the island of Majorca in Spain, and is so incredibly rare that the only copy on the market today is signed by Olson to legendary painter and one-time fellow Professor at Black Mountain College, Ben Shan. For that book, the current bookseller is asking $2,500. As for Origin 18, it is considerably less expensive--but given that there were approximately only 300 issues (and only one printing) of each copy of Origin Magazine, it still remains allusive. To further illustrate our infallible commitment to enriching the collections of our customers, we offer the guarantee to the buyer of this lot that upon the location of either Origin 8 or Origin 18, we will reserve the item and contact the buyer personally--affording them the opportunity to restore their collection of Origins to its fullest possible state. (1) In very good condition with moderate rubbing, spotting, chipping, soiling & browning to front, back covers esp. at all fine-edges; moderate shelf-wear to same; bumps at all corners of front, back covers esp. top right, bottom left of front cover & top right, bottom right of back cover; horizontal tear at spine-edge of front cover near topmost fine-edge of magazine at upper left-hand corner approx. 1.5? in length & stopping just before top staple; similar tear at same spot on bottom left corner of front cover, stopping again just before staple; rusting & slight bleeding at staples; printer?s ink residue at back cover at center left nearest topmost fine-edge (as issued); chipping & rubbing to spine esp. at bottom. (2) In very good condition with minor rubbing, spotting, soiling & browning to front, back covers esp. at spine-edge; moderate shelf-wear throughout esp. at spine edge; bumps at all corners esp. top right, bottom right, bottom left corners of front cover; similar tiny bumps to top right corner of back cover; thin water stain nearest leftmost fine-edge of back cover running 4 ¼? and less than .5? in length on back cover; slight nicks & scuffs to same; tiniest rusting, bleeding to staples; slightest scattered age-toning at varying points throughout text; slight coffee stain at bottom & top of text block. (3) In very good condition with minor rubbing, spotting, & browning to front, back covers esp. at spine-edge; moderate shelf-wear throughout esp. at spine edge; bumps at all corners esp. top right, bottom right, bottom left corners of front cover; similar tiny bumps to top right corner of back cover; small chipping to bottom right corner of front cover; heavy rusting to top staple, minimal rusting to bottom staple. (4) In very good condition with minor rubbing, spotting, & browning to front, back covers esp. at spine-edge; moderate shelf-wear throughout esp. at spine edge; small coffee stain at top left-hand corner of front cover nearest topmost fine-edge. Eshleman?s marginalia appears heavily at Olson?s ?Human Universe? essay, and provides (again, as elucidated above) the power of Olson?s towering influence and its formative force on Eshleman?s poetic development. (5) In very good condition with rubbing, spotting, soiling & browning to front, back covers esp. at spine-edge; moderate shelf-wear throughout esp. at spine edge; bumps at all corners; small chipping to bottom right corner of front cover; heavy rusting, moderate bleeding to staples; slight green ink stain to near bottom of text block; large water stain to front, back covers nearest spine edge running through length of spine spanning approx. 2? in total length, or 1? per verso & recto wrappers. (6) In very good condition with moderate rubbing, spotting, & browning to front, back covers esp. at spine-edge; moderate shelf-wear throughout esp. at spine edge; bumps at all corners; slight outward bend & horizontal creases at rightmost fine-edge of front cover; tiny coffee stain at bottom of text block; minute rusting to staples & one tiny spot of bleeding at same. (7) In near fine condition with moderate rubbing, spotting, & browning to front, back covers esp. at spine-edge; moderate shelf-wear throughout esp. at spine edge; bumps at all corners; closed tear at ends of staples at spine & chipping & wear at upper & lower edges of spine. (9) In fine condition with minute rubbing, spotting & slight browning to front, back covers esp. at spine-edge; moderate shelfwear throughout esp. at rightmost fine-edge; tiny bumps to all corners esp. top right, bottom right corners of front cover; bump-crease at top left corner of back cover; similar small bumps at bottom left, top right, bottom right corners of back cover. (10) In very good condition with only slight rubbing to front, back covers; slight shelf-wear to all fine edges of same; minute bumps at top right, top left corner of front cover; tiny chipping to bottom left corner of same; subsequently-flattened bump-crease at bottom right-hand corner of front cover; four light, small arc-like horizontal creases nearest spine edge of back cover; similarly flattened bump-crease at bottom left-hand corner of same. (11) In very good condition with only moderate rubbing to front, back covers; moderate shelf-wear throughout; minute bumps to all corners of front cover esp. bottom left where minor chipping has occurred; a few minor bump-creases to bottom right corner; subsequently-flattened horizontal crease running through length of front cover beginning at top right-hand corner and descending downwards in an incline pattern that runs through the ?n? in the magazine title and the bottom of the ?X? in the stated issue number; tiny coffee stain to text block at bottom; slight chipping, tiny tears to top of spine; residue of printer?s glue recto of verso wrap nearest spine-edge?but altogether in much more acceptable condition than this laborious specificity intimates. What must be understood about this item is that it is likely the book that incited Eshleman to begin investigating Artaud?and thus was a primary resource used by Eshleman to enhance his scholarship & poetic ability. (12) In very good condition with moderate rubbing to front, back covers; scattered, slight nicks & scuffs to same; minor soiling, spotting to front, back covers esp. nearest rightmost fine-edge of front cover & left & center-left of back cover nearest leftmost fine-edge; defined rubbing & soiling to spine-edge of front cover; slight shelf-wear throughout; tiny bumps to top right, bottom right corners of front cover; similar tiny bumps to top left, bottom left corners of back cover; slight coffee stain running through length of text block at center-middle. (13) In near-fine condition with defined rubbing to front, back covers; slight, scattered nicks & scuffs to same; minor bump-creases to top right, bottom right corners of front cover; slight soiling, horizontal creases running through length of spine edge; moderate shelf-wear throughout; slight coffee stain running through length of text near bottom. (14) In very good condition with only moderate rubbing to front, back covers; minute, scattered scuffs & nicks to same; soiling running through length of spine nearest spine-edge of front cover; small spot just left of the ?A? in ?A Quarterly for the Creative? under magazine title; slight rusting, minute bleeding to staples; minor scuff to back cover at center-right; minor spot near top right-hand corner of same nearest fine-edge; moderate age-toning to pages throughout. (15) In fine condition with only minor rubbing to front, back covers; slight, scattered nicks & scuffs to same; horizontal creases running through length of spine; slight shelf-wear throughout. (16) In near fine condition with only minor rubbing to front, back covers; slight, scattered nicks & scuffs to same; horizontal creases running through length of spine; slight shelf-wear throughout; five tiny, coffee splatter-like spots at lower right-hand corner of front cover nearest rightmost fine-edge; soiling to spine; slight age-toning, spotting at text block. (17) In very good condition with minor rubbing to front, back covers; moderate shelf-wear throughout; minor soiling to spine-edge of front, back covers; horizontal creases running through length of spine; tiniest rusting to staples; minor coffee stain to text block at top left near topmost fine-edge; small bumps to top right-hand corner of front cover; minor bump-crease to bottom right corner of same; minor sunning at topmost fine-edge of same. (19) In near fine-fine condition with only slight rubbing to front, back covers; slight shelf-wear throughout; soiling nearest spine-edge of front, back covers; horizontal creases running through length of spine; slightest chipping at bottom left-hand corner of front cover at spine-edge; flattened bump-crease to top right-hand corner of same. (20) In very good condition with only slight rubbing to front, back covers; slight shelf-wear throughout; soiling nearest spine-edge of front, back covers; horizontal creases running through length of spine; moderate shelf-wear throughout; spots at topmost fine-edge of front cover at center-right, rightmost fine-edge at center middle, bottom left-hand corner of same at leftmost fine-edge; slightest coffee stain to text block at bottom; single line-scuff (approx. 1.5? in length) at back cover just right of contributor list. These titles were well-read and thoroughly studied by their previous owner. Any potential inquiries for further pictures of any item in this lot will be answered and are available upon request. Another historical specific of note in relation to Eshleman?s ownership inscriptions is the fact that--as related earlier in these descriptions--Eshleman was living in the same city as Corman while he read this First Series of Origin and sought him out frequently to discuss life & literature. So, when his inscriptions read ?Kyoto,? it is likely that Eshleman did not order these magazines to be shipped to him, but rather obtained them from Cid himself, who was one of Eshleman?s many fierce interlocutors. From the Library of Clayton Eshleman, Award-Winning Poet, Translator, and Prose Essayist. (18) Issues Signed and/or with Marginalia by Contributor and Close Friend of Cid Corman, Clayton Eshleman.

      [Bookseller: Third Mind Books]
 32.   Check availability:     Biblio     Link/Print  


        LOUBCHANSKY - 3 lettres autographes signées à son galeriste

      - Marcelle LOUBCHANSKY démarre véritablement sa carrière à la galerie de Beaune en 1951, son amitié avec le critique d’art Charles Estienne lui permet d’exposer au sein du cercle des Tachistes apparenté aux surréalistes. Elle participe à leur première exposition à la nouvelle galerie à l’Etoile dont André Breton est le directeur artistique, il est impressionné par son talent : « Nul n'a su comme elle libérer et rendre tout essor à ces formes issues du sein de la terre et participant à la fois de l'humidité et de la flamme qui attestent une nouvelle gestation. » 1 - Lettre autographe signée au galeriste belge Eraste Touraou. Paris 15 avril ; 2 pages in-4°. Deux trous de perforation Loubchansky expédie ses tableaux chez son galeriste belge : « La maison de transport Gondiaud vient de venir chez moi prendre mes toiles – Elles seront donc chez vous vers le 22 ou 23 – Ci-dessous, je vous donne la liste des tableaux expédiés – et leur estimation – tous renseignements portés sur la feuille d’estimation – (liste de tableaux avec dimensions et prix). J’espère donc que tout ira bien, et en attendant de vous voir à Bruxelles » 2 - Lettre autographe signée au galeriste belge Eraste Touraou. Paris 28 avril ; 1 page ½ in-4°. Deux trous de perforation Loubchansky vient aux nouvelles concernant son exposition à Bruxelles : « ( ) Comment marche mon exposition ? Etes-vous content ? Je tiens à vous assurer de toute ma reconnaissance pour ce que vous avez fait pour moi, et à vous remercier de votre si généreuse hospitalité – J’espère aussi que nous aurons l’occasion de nous rencontrer bientôt, et surtout ne manquez pas de me faire signe si vous passez à Paris – Je vous envoie cet article que je viens de lire dans « Combat » d’aujourd’hui – Je pense qu’il est fait pour vous intéresser – De bonnes nouvelles de vous me feront plaisir » 3 - Lettre autographe signée au galeriste belge Eraste Touraou. Paris 2 mai ; 1 page in-4°. Deux trous de perforation Loubchansky vient aux nouvelles concernant son exposition à Bruxelles : « J’ai vu hier les Poliakoff, qui m’ont remis la critique de la « dernière heure » - Je vous en remercie – Comment puis-je me procurer les autres ? – Peut-être pensez-vous m’indiquer les noms des journaux et la date ? – J’aimerai beaucoup avoir de vos nouvelle – Y-a-t il du nouveau à mon exposition ? – Je garde le meilleur souvenir de mon séjour dans votre ville et particulièrement vous » Marcelle LOUBCHANSKY (1917 – 1988) démarre véritablement sa carrière à la galerie de Beaune en 1951, son amitié avec le critique d’art Charles Estienne lui permet d’exposer au sein du cercle des Tachistes apparenté aux surréalistes. Elle participe à leur première exposition à la nouvelle galerie à l’Etoile dont André Breton est le directeur artistique, il est impressionné par son talent : « Nul n'a su comme elle libérer et rendre tout essor à ces formes issues du sein de la terre et participant à la fois de l'humidité et de la flamme qui attestent une nouvelle gestation. » Serge Poliakoff (1900 – 1969) peintre français d’origine Russe de la nouvelle Ecole de Paris. [Attributes: Signed Copy]

      [Bookseller: Manuscripta]
 33.   Check availability:     AbeBooks     Link/Print  


        L'ORDRE DE LA LIBERATION. Ordennance No. 7

      Société d'Entraide des Compagnons de la Libération, 108 pp., Bretagne 1951 - B&w plate in frontis. Some underlining in ink. Text in french. [Attributes: Hard Cover]

      [Bookseller: Buenos Aires Libros]
 34.   Check availability:     IberLibro     Link/Print  


        Chuggy and the Blue Caboose

      New York: The Viking Press, 1951. 1st. Decorative Cloth. Collectible; Very Good/Very Good. LAVISH, FULL-PAGE INSCRIPTION on the front free endpaper FROM BOTH DON AND LYDIA FREEMAN --AND WITH AN ACCOMPANYING ORIGINAL CRAYON DRAWING OF "CHUGGY" THE ENGINE. The 1951 1st edition. Solid and VG in a bright, price-intact, VG- dustjacket, with notable chipping at the spine ends and along the panel edges --and light soiling to the panels as well as several small closed tears to the panel edges. Oblong quarto, 48 pgs. A presentable copy of an elusive early Don Freeman title --particularly inscribed with accompanying art work. Signed by Author(s).

      [Bookseller: Appledore Books, ABAA]
 35.   Check availability:     Biblio     Link/Print  


        Black Mountain College Review; Vol. 1, No. 1

      (Black Mountain, NC), 1951. Spattering to front wrapper; pencil notation to rear, lightly tanned, very good.. 8vo, unpag. pamphlet in printed wrappers, stapled. The first issue of the BMC literary magazine, and the only issue in its first incarnation; it would be revived three years later under the editorship of Robert Creeley. This number contains contributions from faculty members and students including M.C. Richards, Natasha Goldowski, Joel Oppenheimer, Fielding Dawson, and Russell Edson among others. This copy belonged to Edson, who has made a small correction in ink to the text of his contribution, as well as some small revisions to Pat Edson's poems, and the pencil notations on the rear wrapper.

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


        The Day of the Triffids.

      London, Michael Joseph,, 1951. Octavo. Finely bound by the Chelsea Bindery in full green morocco, titles and box design to spine gilt, rule to boards gilt, inner dentelles gilt, marbled endpapers, all edges gilt. A fine copy. First edition, first impression.

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


        The Sands of Mars

      Sidgwick and Jackson Limited London 1951 - First Edition, First Printing with the words "First Published in 1951" printed on the copyright page. This copy is SIGNED by Arthur C. Clarke on the front endpaper. This First Issue dustjacket has the 10s.6d.net printed price present on the front flap with minor wear to the edges. The book is in great shape and is bound in the ORIGINAL red cloth. The binding is tight with NO cocking or leaning and the boards are crisp. The pages are clean with NO writing, marks or bookplates in the book. A wonderful copy SIGNED by the author. [Attributes: First Edition; Signed Copy; Hard Cover]

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

______________________________________________________________________________


      Home     Wants Manager     Library Search     562 Years   Links     Contact      Search Help      Terms of Service     


Copyright © 2018 viaLibri™ Limited. All rights reserved.