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Displayed below are some selected recent viaLibri matches for books published in 1952

        Player Piano

      Charles Scribner's Sons, New York 1952 - First Edition, First Printing SIGNED by Kurt Vonnegut on a laid in signature. A wonderful copy. This original is rich in color with minor wear to the spine. The book is nice shape. The binding is tight with minor wear to the boards. The pages are clean with NO writing, marks or bookplates in the book. A lovely copy SIGNED by the author. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
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        Erzählungen in der Urfassung (2 Bände mit 13 Romanen).

      Augsburg: Adam Kraft Verlag 1952 - Exempl. in einem guten Gesamtzust., geringe Mängel und Gebrauchsspuren möglich. Einband etwas berieben und an Ecken und Kanten etwas bestoßen. Buchrücken leicht ausgeblichen. Innen leicht gedunkelt. 726 S. Deutsch 778g 8° - Oktav (entspricht 18,5 - 22,5 cm) Gewebe o. Schutzumschlag

      [Bookseller: Guthschrift Antiquariat]
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        GUYS AND DOLLS (A MUSICAL FABLE OF BROADWAY) ... MUSIC AND LYRICS BY FRANK LOESSER

      New York: Music Theatre, Inc., [nd, but 1952 or later].. [6],61,42,8 leaves, foliated in act/scene format. Quarto. Mimeographed typescript (printed on rectos only), bradbound in pale pink typescript wrappers. Pencil annotations on upper wrapper erased, one ink direction ("change") on opening of 1st act; very good. An early, but undated, script for the Broadway success, which enjoyed a run of 1200 performances between Nov. 1950 and Nov. 1953. Frank Loesser, the musical composer for this play, cofounded Music Theatre Incorporated (now Music Theatre International) in 1952, the function being to control the rental of scripts for productions of major plays. This is identified as one such rental script, and although it is an authorized script, any production with which it might have been associated is not readily ascertainable and it must postdate the play's 1950 opening by more than a year. GUYS AND DOLLS was selected as the 1951 Pulitzer Prize winner, but due to Burrows's run-in with the HUAC, no award was made that year. The play went on to be the source work for the 1955 Joseph L. Mankiewicz film production, starring Marlon Brando, Frank Sinatra, Jean Simmons,

      [Bookseller: William Reese Company - Literature ABAA-]
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        Primizie del deserto

      Milano , SCHWARZ, Campionario 1952 - Un disegno di Ottone Rosai in antiporta (ritratto di Luzi). 8vo. pp. 36. Firma autografa dell'Autore (Signed by the Author). Molto buono (Very Good). . Prima edizione di 950 + 50 + 10 es. numerati. [Gambetti, 1997]. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Marini ALAI - ILAB]
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        Typed letter addressed to Dr. Joseph Klausner, signed by 44 personages, including Shaul Tchernichovsky, presented to him togehter with a statue of his wife. The statue is not here]

      Tel Aviv, Israel 1952 - Joseph Gedaliah Klausner (20 August 1874 - 27 October 1958), was a Jewish historian and professor of Hebrew Literature. He was the chief editor of the Encyclopedia Hebraica, was a candidate for president in the first Israeli presidential election in 1949, losing to Chaim Weizman, and the great uncle of Israeli author Amos Oz. Joseph Klausner was born in Olkeniki, Vilna Governorate in 1874. At the turn of the 20th century, the Klausners left Lithuania and settled in Odessa. Klausner was active in the city's scientific, literary and Zionist circles. He was a committed Zionist, and knew Theodore Herzl personally. In 1912, Klausner visited Palestine for the first time, and settled there in 1919. In 1925, he became a professor of Hebrew literature at the Hebrew University of Jerusalem. He specialized in the history of the Second Temple period. Although not an Orthodox Jew, he observed Sabbath and the dietary laws. He had a wide grasp of the Talmud and Midrashic literature. Joseph Klausner was a member of the circle of Russian Zionist political activists from Odessa, which included Ze'ev Jabotinsky and Menachem Ussishkin. Although not a party man, he supported Revisionist Zionism. In July 1929, Klausner established the Pro-Wailing Wall Committee to defend Jewish rights, and resolve problems over access and arrangements for worship at the Western Wall. His house in Talpiot neighborhood of Jerusalem was destroyed in the 1929 Palestine riots. Despite his Zionist ideology, Klausner had numerous disagreements with Chaim Weizmann. The two were candidates in the presidential election of 1949; Weizmann was declared the first President of Israel. Klausner earned his Ph.D. in Germany. One of his most influential books was about Jesus. The book Jesus of Nazareth, and its sequel, From Jesus to Paul, gained him fame. In it, Klausner described how Jesus was best understood as a Jew and Israelite who was trying to reform the religion, and died as a devout Jew. Herbert Danby, an Anglican priest, translated the work from Hebrew into English so that English scholars might avail themselves of the information. A number of clergymen, incensed at Danby for translating the book, demanded his recall from Jerusalem. Later in his career, he was given a chair in Jewish history. Amos Oz wrote about Klausner in his semi-autobiographical work A Tale of Love and Darkness. In both 1941 and 1949, Klausner was awarded the Bialik Prize for Jewish thought. In 1958, he was awarded the Israel Prize in Jewish studies. In 1982, in recognition of his scholarly achievements, the State of Israel issued a stamp with his picture on it.

      [Bookseller: Meir Turner]
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        Reines de la France EDITION ORIGINALE Tirage de tête ENVOI AUTOGRAPHE

      Paris: Grasset, 1952. Fine. Grasset, Paris 1952, 11,5x17,5cm, broché. - First edition, one of 25 numbered copies on Madagascar, deluxe edition. Signed autograph of the author Roger Bradier. Back slightly cleared up, tiny light spots minor on the first dish. - [FRENCH VERSION FOLLOWS] Edition originale, un des 25 exemplaires numérotés sur Madagascar, tirage de tête. Envoi autographe signé de Jean Cocteau à Roger Bradier. Dos renforcé en tête et en pied.  

      [Bookseller: Librairie Le Feu Follet]
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        Player Piano

      Scribners 1952 - A near fine first edition (Scribner's A and seal on the copyright page), signed by Vonnegut on the title page, in a very good price-clipped dust jacket. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookbid]
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        Invisible Man

      New York, Random House 1952, 1952. Literature. FIRST EDITION. 8vo, pp. 439. Elegantly hand-bound in full blue oasis morocco leather with traditional raised bands, gilt titles and decoration to spine, publisher's original boards bound in at the rear. A fine copy in fine recent binding. An American classic. Listed in Time Magazine's 100 Best Modern Novels, also Modern Library; Top 100 Novels [1998].

      [Bookseller: Adrian Harrington Rare Books]
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        BUDDHIST SERMONS ON CHRISTIAN TEXTS.

      [Tokyo] 1952, - Kokudosha. Stiff brown wrs. 95p., 3-page colorfold out map, texts in English & Japanese, 12.5 x 18 cm.,bitof the usual paper toning, else clean & solid, with dj. THE AUTHOR'S SIGNED PRESENTATION COPY RARE FIRST EDITION Color scans available for this book on request. Description content 2015Copyright Rare Oriental Books Co.

      [Bookseller: RARE ORIENTAL BOOK CO., ABAA, ILAB]
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        The Natural

      Harcourt, Brace and Company 1952 - A near fine first edition in a very good dust jacket. First edition stated on the copyright page. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        The Borrowers

      London: J.M. Dent, 1952. First Edition. Hardcover. Very Good. First edition, first printing in first issue jacket. (Stated "First published 1952" on copyright page. Precedes all other editions.) 159 p. Near Fine in Very Good dust jacket. Jacket in nice shape overall, chipped at head, smaller chip on bottom edge of front panel, rubbed. Foxing on verso with a few small pieces of clear tape. Price intact (9s 6d net). A children's fantasy novel about a tiny family. Winner of the Carnegie Award and a classic of creative children's literature.

      [Bookseller: Burnside Rare Books]
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        A Buyer's Market

      Heinemann, London 1952 - The first British edition of the second volume in the A Dance to the Music of Time. Published in 1952 by William Heinemann. In the scarce first state dust jacket ( extending to within one half inch of the gutters ) and priced at 12s 6d net. A near fine example of the book with a bit of the spotting to the page edges and prelims that seems to accompany this title. Dust jacket very nearly fine with a couple of tiny nicks and a faint light stain over the photobox on the rear panel. A lovely copy of a scarce novel - rich in the talent that has made the twelve volume cycle so beloved to so many readers. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Reluctant Bookseller]
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        Maigret chez le coroner EDITION ORIGINALE Tirage de tête

      Paris: Presses de la Cité, 1952. Fine. Presses de la Cité, Paris 1952, 11,5x17,5cm, broché. - First edition, one of 100 numbered copies on "pur-fil" paper only leading copies. Nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 100 exemplaires numérotés sur pur fil, seuls grands papiers. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        La France de profil

      Lausanne: La Guilde de Livre, 1952. First Edition. Paperback. Very Good. First edition. (Numbered 1674 on limitation page at rear.) 123 p. Wraps over cardstock boards, tissue overlay. In French. Very Good+ condition overall. Wear at head and tail, creasing to spine, wear at tips. Tissue toned with age, torn along bottom front edge, missing small chips at head and tail. A key work from the acclaimed American photographer.

      [Bookseller: Burnside Rare Books]
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        Manifeste de la Peinture Nucleare.

      Bruxelles, 1952. - 32:22 cm. Original-Manifest. Das erste Manifest der Gruppe Arte Nucleare, das gleichzeitig mit der zweiten Gruppenausstellung, organisiert von Dangelo, erschien. Die Unterzeichner waren Enrico Baj u. Sergio Dangelo. In dem Texst, in französicher Sprache verfaßt, wird entschieden darauf hingewiesen, daß „les nucleaires" entschieden gegen jegliche Form von „ismen" in der Malerei sind. Äußerst seltenes Dokument. Vgl. auch Sauvage, T. Arte Nucleare S. 26 ff u. S. 203. Unterer Blattrand mit leichter Knickspur.

      [Bookseller: M + R Fricke]
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        KISS ME, DEADLY - WITH SIGNED BOOKPLATE LAID IN

      E.P. Dutton & Company, Inc., New York 1952 - First Printing. Octavo; textured rust-colored cloth, with titles reverse-stamped in silver on spine and publisher's logo blind-stamped on front cover; dustjacket; 251pp. Bookplate signed by Spillane loosely laid in. Fine in a Near Fine dustjacket (Variant A, with publisher's circular framing device at upper right corner of front panel), unclipped (priced $2.50), with minimal wear to extremities and a few tiny edge tears. A lovely copy of the seventh Mike Hammer novel, basis for Robert Aldrich's 1955 film noir, with a screenplay by A.I. Bezzerides and starring Ralph Meeker, Albert Dekker, and Paul Stewart. The Dark Page, Vol.II, p.176-177. [Attributes: First Edition; Signed Copy]

      [Bookseller: Captain Ahab's Rare Books]
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        HENRI CARTIER-BRESSON: THE DECISIVE MOMENT

      (CARTIER-BRESSON, HENRI). Cartier-Bresson, Henri & Richard Simon. HENRI CARTIER-BRESSON: THE DECISIVE MOMENT. New York & Paris: Simon & Schuster & Editions Verve, 1952. First English Language Edition. Folio. Illustrated Boards. Photography Monograph. Good/No Jacket. np, 126 monochrome gravure illustrations. Cover Design by Henri Matisse. Designed by E. Teriade and Marguerite Lange. "The Decisive Moment" is one of the most famous books in the history of photography. Published in 1952 by Simon and Schuster, New York in collaboration with Editions Verve, Paris, it is an oversized folio that assembled Cartier-Bresson's best work from his early years adorned with a cut out paper collage cover by Henri Matisse especially designed for the book. "The Decisive Moment" and its images have since influenced generations of photographers. Its English title has defined the notion of the famous formal peak in which all elements in the photographic frame accumulate to form the perfect image. Paired with the artist's humanist viewpoint, Cartier-Bresson's photography has become part of the world's collective memory". An internally sound, handsome example of the 1952 first English language printing of Cartier-Bresson's timeless classic (cited on pages 208-209 of Martin Parr and Gerry Badger's "The Photobook: A History Volume I", pages 154-155 of The Hasselblad Center's "The Open Book", and pages 134-135 of "The Book of 101 Books") lacking its dust jacket showing some notable creasing to the front and rear pastedowns, chipping to the paper over the boards along the spine, abrasion to the tips and spine ends, and light overall soiling. A reproduction of the missing original caption booklet has been laid in. It has been priced accordingly. PLEASE NOTE: Additional shipping costs are required for this item beyond our standard rates due to its weight and value - we will inform you of the applicable amount at time of purchase. Inventory Number: 024499

      [Bookseller: Arcana: Books on the Arts]
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        Celle Qui N'Etait Plus [Diabolique] (First French Edition, Review Copy, Signed by Boileau and Narcejac)

      Paris: Denoel, 1952. First French Edition, preceding all others. SIGNED by both Boileau and Narcejac, and rare thus. French review copy, with the necessary PRESSE punch-stamp present on both the rear panel of the jacket and the book. The writing team's first effort, basis for Henri-Georges Clouzot's 1955 masterpiece, "Diabolique," starring Simone Signoret. Before Clouzot had even finished making the film, Alfred Hitchcock had secured the rights to the duo's next book, which would become the basis for his masterpiece, "Vertigo." A cornerstone film source title, and a classic of European crime fiction. Book has a tiny name at the top of the front panel, minor splitting at the spine ends, and a slight lean and roll. The jacket has had some careful restoration at the spine ends, is lightly worn otherwise, and presents nicely. Very Good in wrappers, in a Very Good plus example of the rare dust jacket. Buss, p. 74. Criterion Collection 35. Grant, pp. 182-183. Selby Masterwork, p. 215. Spicer, p. 453.

      [Bookseller: Royal Books, Inc.]
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        Le ressassement éternel EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Les éditions de minuit, 1952. Fine. Les éditions de minuit, Paris 1952, 12x19cm, relié. - first edition on the current paper. Binding half black morocco, back with five nerves, date tail, marbled paper plates, contreplats guards and combed paper, blue blankets tucked preserved, gilded head, binding signed P. Goy & C. Vilaine. Exceptional autograph signed by the author Wrong title page and last shaded guard. Beautiful and precious copy well established. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant. Reliure en demi maroquin noir, dos à cinq nerfs, date en queue, plats de papier marbré, contreplats et gardes de papier peigné, couvertures bleues rempliées conservées, tête dorée, reliure signée de P. Goy & C. Vilaine. Exceptionnel envoi autographe signé de Maurice Blanchot à son frère et sa belle-soeur Inge: "Pour vous, mes chers, ces pages hélàs très anciennes que seuls vous pouvez garder jeunes... Et en effet quoi de plus proche de la solennelle fatigue de la mort que le piétinement de la monotonie, harcèlement gigantesque au sein du recommencement.". Page de faux-titre et dernière garde ombrées. Bel et précieux exemplaire parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        Reveling in his 'rediscovery' by the Europeans, a vindicated Frank Lloyd Wright forwards and signs a treatise extolling his influence on modern architecture to critic Lewis Mumford: "Lewis - this had to be said by Europe ..."

      Taliesin, Sept - Oct 1952. 8.5" x 11". "Typescript Signed ""Frank"", 6 pages, 8.5"" x 11"", [Taliesin, 1952], a typescript translation of an article by noted Italian architect Giancarlo de Carlo (1919-2005), entitled ""Wright and Europe,"" inscribed and signed at the top right of the first page by Wright to Lewis Mumford: ""Lewis - this had to be said by Europe- No body home to tell the truth - ? Frank"". Minor staple holes at top left, very minor marginal wear, else very fine.De Carlo's article, which originally appeared in the September-October issue of the Italian journal, Sele Arte, followed a major exhibition of Wright's work that was staged in Florence in June 1951 (and subsequently shown in Zurch, London, Paris, Munich, Bombay and Stockholm). Just prior to the exhibition's opening at the Strozzi Palace, Wright was honored with Italy's Star of Solidarity award. That exhibition proved instrumental in resurrecting Wright's reputation among European (and American) architects. (""F. L. Wright's Work Seen,"" New York Times, January 26, 1951, 19; ""Italy Decorates U.S. Architect,"" Ibid, June 25, 1951, 12)De Carlo opened noting that Wright was then ""the center of all the new interest that perpetrates unto the roots of the theoretical and practical structure of architecture. It is an unexpected 'come-back' that manifests itself with various symptoms. Great critics that for years had relegated 'the great old master' among the forerunners of modern architecture and had refused to consider his work among the most representative of contemporary art, have now recognized their mistake. Architects of the new generation as well as architects of the past one, already ripe, proved already by concluded experience are now converted to his doctrine without reserve as it by a sudden illumination. The official American architecture, that in 1933 had excluded him from the list of architects invited to do the world's fair exhibition at Chicago, today celebrates him with an uproar that often resents publicity; as if Frank Lloyd Wright has not existed ever since modern architecture exists.""As de Carlo highlights, Frank Lloyd Wright had become marginalized in the late 1910s and 1920s by proponents of what became known as the ""International Style,"" which Wright had denounced for years as an empty architectural philosophy. However, in the late 1940s and early 1950s his work came back into vogue?"an upward trend for Wright that continued long after his death in 1959. In 1991, the American Institute of Architects, an organization that Wright refused to join (belittling the organization ""a harbor of refuge for the incompetent""), recognized him as ""the greatest American architect of all-time."" WrIght, obviously proud of his vindication by his European critics, had the translation retyped at Taliesin?"and the typescript bears Wright's familiar spacing and his clean, sans serif typeface. Lewis Mumford and Frank Lloyd Wright first began corresponding in the 1920s, after Mumford had contributed an essay to the Dutch journal Wendingen in 1925 in which he discussed Wright's work as a continuation of a line of innovation begun by H. H. Richardson and Louis Sullivan as well as placing Wright in contrast to the European modernists like Le Corbusier. Mumford also characterized Wright's work as an ideal of form and expression ideally suited to the American landscape. An article along similar lines authored by Mumford for The American Mercury, elected a response from Wright in August 1926, in which the architect questioned the depth of Mumford's understanding of his work. A set of exchanges culminated in their first meeting, a luncheon at the Plaza Hotel in New York, during the winter of 1926-1927 that would begin a long and productive dialogue and friendship.This friendship, born of mutual respect and a love of argument, came under enormous strain in the years leading up the Second World War. Mumford, a liberal Democrat, viewed the rise of Nazism and Fascism anxiously?"as he detailed in numerous articles and two full-length works: Men Must Act (1939) and Faith For Living (1940) . Wright held a different view. His general distrust of empire compelled Wright to take a stand against American involvement in the escalating European conflict that struck many as merely isolationist?"a charge that the architect roundly rejected.The final straw for Mumford came in a broadsheet published by Wright: A Taliesin Square-Paper, subtitled as ""A nonpolitical voice from our democratic minority,"" which declared ""HITLER IS WINNING THIS WAR WITHOUT A NAVY. We are facing a new kind of warfare that the British Empire, owing to traditional faith in a great navy, cannot learn in time even if we furnished the equipment ... Our frontier is no longer England, nor in any sense, it is European. Our frontier is our own shores."" An infuriated Mumford shot back to Wright: ""You dishonor all the generous impulses you once ennobled ... Be silent! lest you bring upon yourself some greater shame."" To this, Wright retorted: ""There is no good Empire, there never was a just war."" True to his principles, Wright remained steadfastly opposed to the Second World War, and war in general. Escalating the feud, Mumford published his response to Wright in the interventionist journal, the New Leader. The two did not speak for over a decade. The postwar period saw a thaw in their relationship, and Mumford remained a great admirer of Wright's work, despite their personal and philosophical differences. And Wright, despite Mumford's public shaming of the architect in print, continued sending New Year's greetings, unanswered by Mumford. However in the spring of 1951, Wright forwarded Mumford a copy of Sixty Years of Living Architecture, inscribed: ""In spite of all, your old F. Ll. W."" The gesture moved Mumford to respond and the two began the process of reconciliation."

      [Bookseller: University Archives]
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        Full of Life

      Little Brown 1952 - A fine first edition in a fine dust jacket, with a long inscription from Fante on the front free endpaper. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookbid]
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        East of Eden

      The Viking Press, New York 1952 - 8vo. LIMITED SIGNED 1ST EDITION, limited to 1500 copies, SIGNED by John Steinbeck. Lacking glassine dust jacket and slipcase. The slightest of rubbing and toning to boards. Clean and tight copy. VG/--. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Strand Book Store, ABAA]
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        Saint-Jean-Cap-Ferrat.

      Mourlot, Paris 1952 - Affiche lithographique de Marc Chagall gravée par Charles Sorlier, exécutée pour une exposition particulière à Nice. Format ( 99 X 63 cm), tirage limité à 750 exemplaires, celle-ci si signée au crayon bleu, signature peu visible. [Attributes: Signed Copy]

      [Bookseller: La Basse Fontaine]
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        Notre-Dame des-fleurs. Roman. Monte-Carlo, aux depens d'un amateur (1944). 4to. 265 S. Halbmaroquinbd. mit Rückentitel.

      . . Erstausgabe von Genets umstrittenen Erstlingsroman. Im Gefängnis geschrieben und auf Cocteaus Veranlassung veröffentlicht. Unter dem Vorwurf der Pornographie ist der Roman wiederholt Gegenstand gerichtlicher Prozesse gewesen. Sartre, der sich für die Begnadigung des zu lebenslänglichem Zuchthaus verurteilten Autors eingesetzt hat, und dessen Schrift "Saint Genet, comedien et martyr (1952)" wesentlich zum Verständnis von Genets Werk beitrug, sieht in Notre-Dame-des-fleurs einen der bedeutendsten Romane unseres Jahrhunderts. Nur in 350 numerierten Exemplaren für die Subskribenten gedruckt. Sehr schönes Exemplar in rotem Halbleder.

      [Bookseller: Antiquariat Schmidt & Günther Einzelunte]
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        Voyage au bout de la nuit

      Paris: Gallimard, 1952. Fine. Gallimard, Paris 1952, 14,5x22cm, reliure de l'éditeur. - First Edition Gallimard, one of 1000 numbered copies of Alfa paperma, one draw on large paper. Cardboard from the original artwork of Paul Bonet. Superb copy of a great freshness. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Première édition Gallimard, un des 1000 exemplaires numérotés sur alfama, seul tirage en grand papier. Cartonnage d'après la maquette originale de Paul Bonet. Ex-dono manuscrit sur la page de faux-titre. Dos très légèrement éclairci, sinon bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Wise Blood

      Harcourt, Brace and Company 1952 - A near fine first edition (so stated on copyright page) inscribed by O'Connor on the front free endpaper. Very good dust jacket still has original $3 price but has some discoloration. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookbid]
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        Les Amants de Venise. Burins originaux de Camille-P. Josso

      Paris: Aux dépens de l'artiste, 1952. Livre. Illus. by Camille-Paul Josso. Très bon. En Feuilles. Signé par l'illustrateur. Grand In-4. Paris, Aux dépens de l'artiste, 1952. 33,5 x 26 cm, grand in-4, 310 (11) pp. - 47 gravures en noir dont une en frontispice et 4 à double page, en feuilles sous couverture rempliée et imprimée de feutre noir, chemise et étui de l'éditeur. Tirage à 220 exemplaires. Celui-ci l'un des 25 sur Auvergne du Val de Laga, comportant une SUITE d'états avec remarques sur Auvergne "Canton", une SUITE d'états définitifs sur Auvergne vert d'eau, un CUIVRE, un DESSIN original et un CROQUIS (n° 31, signé par l'artiste). Cette édition réalisée par l'artiste suite à la maladie de l'éditeur Pierre de Tartas comporte in fine un poèmes inédit de Maurras, "Hommage au graveur des Amants de Venise". Rare avec le cuivre. Petites usures à la couverture et à l'emboîtage, sans gravité. (MONOD, 7983).

      [Bookseller: Des livres autour (Julien Mannoni)]
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        A set of original drawings in the hand of Frank Lloyd Wright of two buildings he helped draft for his mentor, Louis Sullivan, accomplished during his 1952 "reconciliation luncheon" at the Plaza Hotel in New York with critic Lewis Mumford

      [New York], February 7, 1952. 4" x 6" each. "A collection of original pencil drawings accomplished by Wright on four sheets, 4"" x 6"" each, one of which is signed, ""FLW,"" with each dated in ink by Lewis Mumford, together with a short Autograph Note by Mumford on a fifth 4"" x 6"" sheet, [New York, February 1952]: ""Sketches by Frank Lloyd Wright at our reconciliation luncheon at the Plaza, 7 Feb 52"". One drawing bears two minor paperclip marks, a few light wrinkles, else fine condition.An important set of drawings rendered by Wright over lunch with Lewis Mumford at the Plaza Hotel on February 7, 1952: the first time the pair had met face to face since they broke off communications after a very public feud over American involvement in the Second World War. The drawings, accomplished in pencil, are sketches of structures designed by his mentor Louis Sullivan, built when he was employed by the famed Chicago School architect. (As chief draftsman at the firm of Adler and Sullivan between 1888 and 1893, Wright had personal involvement in both projects). Mumford dates each sketch at the top ""7 Feb 1952,"" and ""7 February 1952."" Three of the four sketches concern Sullivan's Wainwright Tomb in St. Louis (1890). On the verso of one of the sketches Mumford has added a penciled note quoting Wright: ""FLW - In England aristocracy hadn't earned privileges - In America we have conferred privileges on the privileged Result is far worse"" The fourth sketch is identified by Mumford as the ""Walker Warehouse,"" in which Wright sketches the large iconic arches?"the building's signature.Louis Mumford and Frank Lloyd Wright first began corresponding in the 1920s, after Mumford had contributed an essay to the Dutch journal Wendingen in 1925 in which he discussed Wright's work as a continuation of a line of innovation begun by H. H. Richardson and Louis Sullivan, as well as placing Wright in contrast to the European modernists like Le Corbusier. Mumford also characterized Wright's work as an ideal of form and expression ideally suited to the American landscape. An article along similar lines authored by Mumford for The American Mercury, elected a response from Wright in August 1926, in which the architect questioned the depth of Mumford's understanding of his work. A set of exchanges culminated in their first meeting, a luncheon at the Plaza Hotel in New York during the winter of 1926-1927, which would begin a long and productive dialogue and friendship.This friendship, born of mutual respect and a love of argument, came under enormous strain in the years leading up the Second World War. Mumford, a liberal Democrat, viewed the rise of Nazism and Fascism anxiously?"as he detailed in numerous articles and two full-length works: Men Must Act (1939) and Faith For Living (1940). Wright held a different view. His general distrust of empire compelled Wright to take a stand against American involvement in the escalating European conflict that struck many as merely isolationist?"a charge that the architect roundly rejected.The final straw for Mumford came in a broadsheet published by Wright: A Taliesin Square-Paper, subtitled as ""A nonpolitical voice from our democratic minority,"" which declared ""HITLER IS WINNING THIS WAR WITHOUT A NAVY. We are facing a new kind of warfare that the British Empire, owing to traditional faith in a great navy, cannot learn in time even if we furnished the equipment ... Our frontier is no longer England, nor in any sense, it is European. Our frontier is our own shores."" An infuriated Mumford shot back to Wright: ""You dishonor all the generous impulses you once ennobled ... Be silent! lest you bring upon yourself some greater shame."" To this, Wright retorted: ""There is no good Empire, there never was a just war."" True to his principles, Wright remained steadfastly opposed to the Second World War, and war in general. Escalating the feud, Mumford published his response to Wright in the interventionist journal, the New Leader. The two did not speak for over a decade. The postwar period saw a thaw in their relationship, and Mumford remained a great admirer of Wright's work, despite their personal and philosophical differences. And Wright, despite Mumford's public shaming of the architect in print, continued sending New Year's greetings, unanswered by Mumford. However in the spring of 1951, Wright forwarded Mumford a copy of Sixty Years of Living Architecture, inscribed: ""In spite of all, your old F. Ll. W."" The gesture moved Mumford to respond and the two began the process of reconciliation.On February 1952, the two reunited for the first time in over a decade, at the place where they first met, over lunch at The Plaza ?" where they enjoyed what Mumford described as ""our reconciliation luncheon."" As they caught up on family news and professional developments, Wright rendered a series of four sketches, one of the Walker Warehouse in Chicago (1888-1889) and the Wainwright Tomb in St. Louis (1890), both designed by his Leiber Meister, Louis Sullivan. (As Adler and Sullivan's chief draftsman, Wright had a direct involvement with both projects). Cognizant of the importance of that afternoon, Mumford retained the sketches as a souvenir. (Wright, Mumford, et al., Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 2001, 22-26)"

      [Bookseller: University Archives]
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        THIS ISLAND EARTH

      Chicago: Shasta Publishers, 1952 A subscriber's copy signed by Jones on the front endpaper. In addition, there is a lengthy inscription by the dust jacket designer, Robert Johnson, to his father and dated 1952. Barron: Anatomy of Wonder 1987, 3-222. This book was the basis for the classic science fiction film of the same title with excellent special effects created by Clifford Stine. The merest hint of adhesive to the bottom of the covers from the old style dust jacket protector. Mild toning to the text block edges. Near fine in near fine dust jacket with some toning to reverse and mild fade to the spine panel. A handsome, unique association copy.. Signed. First edition, first printing. Hardcover.

      [Bookseller: Robert Gavora, Fine and Rare Books]
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        [Photo Archive]: Papagayo Room and Early 1950s San Francisco Cooking TV Program

      [Circa 1952]. Photographic archive of Al and Katherine Williams, proprietors of the Papagayo Room restaurant in San Francisco's Fairmont Hotel and host of the mid-1950s cooking program Copper Kitchen, totaling more than 1,000 photographs and 1,000 negatives, with some original menu art. The photographs are nicely presented in a series of folio and large quarto albums and with the majority of the original negatives present and neatly organized and labeled; an additional number of unprinted negatives related to travel in Mexico are also included. Overall fine with only a bit of wear and toning to the menu art. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Féerie pour une autre fois EDITION ORIGINALE Grand papier

      Paris: Gallimard, 1952. Fine. Gallimard, Paris 1952, 12x19,5cm, broché. - Original, one of 165 numbered copies on pure yarn Edition leading copy after 45 Holland paper. Four tiny spots without gravity head and foot of spine, nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 165 exemplaires numérotés sur pur fil, tirage de tête après 45 Hollande. Quatre infimes taches sans gravité en tête et en pied du dos, bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        CELLE QUI N'ETAIT PLUS... (DIABOLIQUE)

      Paris: Denoël, 1952. First French Edition. New/very good +. First Printing. A Fine copy in a Very Good+ example of the rare dustjacket. The jacket has one shallow chip at the crown of the spine, with a light rubbing and a several short closed tears to the extremities. The French crime fiction duo's first novel, preceding the American edition ("The Woman Who Was No More") by two years. "Celle Qui N'Etait Plus" is the story of two women—the fragile wife and the willful mistress of the sadistic headmaster of a boys?' boarding school—who hatch a daring revenge plot after enduring both physical and verbal abuse. Basis for "Les Diaboliques" (Diabolique), the 1955 masterpiece by directed by Henri-George Clouzot, starring Simone Signoret, Véra Clouzot, and Paul Meurisse. A cornerstone film source title, particularly scarce in the original dustjacket. Criterion #35.

      [Bookseller: Captain Ahab's Rare Books]
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        Foundation and Empire

      New York: Gnome Press. Very Good+ in Very Good- dust jacket. 1952. 1st Edition; 1st Printing. Hardcover. This is a First Edition, Currey Binding A in a First State Dust jacket (printed in four colors). The book is in Very Good+ condition and has a Very Good- dust jacket. The book and its contents are in mostly clean, bright condition. There is some light bumping and rubbing to the spine ends of the book covers. The text pages are mostly clean and bright, with some lightish generalized toning to the edges of the text block. The dust jacket has several edge tears of varying sizes, some generalized rubbing and wrinkling and several small to smallish edge chips, mostly to th spine ends. "Someday mankind will spread into the Milky Way. And there, among a million worlds, Earthmen and aliens will grou into a vast community - seething with old lusts and new passions." .

      [Bookseller: S. Howlett-West Books]
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        THE OLD MAN AND THE SEA. Pulitzer Prize for Fiction 1953

      New York:: Charles Scribner's & Sons (Scribners),, 1952. First Edition. Very Good+. SIGNED AND INSCRIBED "FROM HIS FRIEND" BY ERNEST HEMINGWAY without personalization. The book is signed on the front free endpaper, not on a tipped in sheet or card. Very Good+ hardback first Edition First Printing with sub spine, faded, scuffed spots front board. In a Very Good+ Dust Jacket with sun spine, closed tear front dj, mild edge wear. Flap price intact ($3.00). Grissom Jacket A.

      [Bookseller: By The Book, LC ABAA-ILAB]
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        Gemälde / paintings. Leporello mit 22 Farbholzschnitten / Leporello containing 22 woodblock colour prints.,

      Peking (Beijing) (Verlag / editor Rong Baozhai) 1952. - Bilder / pics auf Wunsch / on request Sprache: Deutsch Gewicht in Gramm: 900 22 Doppelblätter (jeweils ein Blatt mit einem Farbholzschnitt und einem leeren Blatt), Vorwort mit einem Bildnis des Verfassers / 22 double pages (each page with a woodcut in colours and a blank page), foreword with a portrait of the artist) / Format / size 32 x 22 cm Seideneinband / silk binding. (sehr gut erhalten / excellent condition)

      [Bookseller: Versandantiquariat Rainer Woelfel]
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        EAST OF EDEN

      New York: Viking. 1952. First Edition; First Printing. Hardcover. Very Good in a Very Good dust jacket. Original cloth and original dust jacket. First edition, first printing, first issue with "First Published by The Viking Press in September 1952" stated on copyright page and no mention of subsequent printings. First state text with the "bite" for "bight" error on page 281 line 38.; 8vo 8" - 9" tall; 602 pages .

      [Bookseller: Rare Book Cellar]
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        Anthology of American Folk Music - Volume One: Ballads (FP 251), Volume Two: Social Music FP 252), Volume Three: Songs (FP 253)

      New York: Folkways Records & Service Corp.. 1952. First printing. Cloth. Very Good +. First Pressing. 3 2LP Vols. In original red cloth-backed gatefold sleeves, pastedown labels, paper LP sleeves, with Smith's stapled booklet of incisive notes in each volume. The big daddy of American roots music anthologies! Harry Smith's Anthology of American Folk Music (3 Vols.) continues to inform our understanding of popular music in the United States, as well as inspire generations of musicians who have grown up with this music in their very DNA. As Greil Marcus, as esteemed an aficionado of this set as you're likely to find, put it "Slowly at first, Smith's set found its way into beatnik enclaves, collegiate bohemias and the nascent folk scenes in Greenwich Village, Chicago, Philadelphia, Berkeley and Detroit. By the early 1960s the Anthology had become a kind of lingua franca, or a password: for the likes of Roger McGuinn, later of the Byrds, or Jerry Garcia, founder of the Grateful Dead, for folk musicians such as Dave Van Ronk, Rick Von Schmidt and John Fahey, for poet Allen Ginsberg, it was the secret text of a secret country. In 1960, John Pankake and others who were part of the folk milieu at the University of Minnesota in Minneapolis initiated a nineteen-year-old Bob Dylan into what Pankake would later call 'the brotherhood of the Anthology'; the presence of Smith's music in Dylan's has been a template for the presence of that music in the country, and the world, at large. From then to now verses, melodies, images and choruses from the Anthology, and most deeply the Anthology's insistence on an occult, Gothic America of terror and deliverance inside the official America of anxiety and success-as Smith placed murder ballads, explosions of religious ecstasy, moral warnings and hedonistic revels on the same plane of value and meaning-have been one step behind Dylan's own music, and one step ahead. (Granta, January 9, 2002) Cloth gatefold sleeves are Very Good with moderate wear at spine- ends and corners with occasional snagging / fraying of cloth, light sunning to spines, 1-inch tear to spine cloth of third volume, light occasional soiling. Booklets mildly age-toned with occasional mild soiling to wraps. Albums are VG++ / E with a few visible light scuffs and wear, light rubbing to labels. From the private collection of Ronald D. Cohen who wrote and edited numerous books and articles, many about American folk music, and co-produced compilations of folk and topical songs. A fine set of this exemplary anthology! Rare!!

      [Bookseller: Caliban Books ABAA-ILAB]
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        Féérie pour une autre fois EDITION ORIGINALE Grand papier

      Paris: Gallimard, 1952. Fine. Gallimard, Paris 1952, 11,5x18cm, reliure de l'éditeur. - First edition, one of 1050 numbered copies on Alfa paper Navarre. Cardboard Editor connected according to the original model of Paul Bonet. A slight shadow walk the last pages of the volume without reaching the text. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 1050 exemplaires numérotés sur alfa Navarre. Cartonnage de l'éditeur relié d'après la maquette originale de Paul Bonet. Quelques infimes manques de couleurs au dos, bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Air mexicain EDITION ORIGINALE Grand papier ENVOI AUTOGRAPHE

      Paris: Librairie Arcanes, 1952. Fine. Librairie Arcanes, Paris 1952, 19,5x25cm, en feuilles sous chemise. - First edition, one of 20 numbered copies on cream wove Renage, only 1 draw with Holland. Book illustrated with 4 color lithographs by Rufino Tamayo. Our copy, as it is stated in the justification of the draw, is enriched with a suite in the 4-fine lithographs by Rufino Tamayo. Signing autographs of the author and the illustrator to the justification of the draw. Rare and enjoyable copy presented in old pink case. - [FRENCH VERSION FOLLOWS] Edition originale, un des 20 exemplaires numérotés sur vélin crème de Renage, seul tirage avec 1 Hollande. Ouvrage illustré de 4 lithographies en couleurs de Rufino Tamayo. Notre exemplaire, ainsi qu'il l'est stipulé à la justification du tirage, est enrichi d'une suite in-fine des 4 lithographies de Rufino Tamayo. Signatures autographes de Benjamin Peret et de Rufino Tamayo à la justification du tirage. Rare et agréable exemplaire présenté sous étui vieux rose.

      [Bookseller: Librairie Le Feu Follet]
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        Great Books of the Western World (54 Volume Set)

      Encyclopaedia Britannica, Inc, 1952. First Edition. Hardcover. Very Good. Signed by Editor. Chicago: Encyclopaedia Britannica, Inc., 1952. Founders edition, limited to 500 copies, this number 106. Hardcover. Complete in 52 volumes. Very good. Light edge wear to the volumes with a small pull tear at the head of the spine on one volume. This set bound in sturdy buckram with the Encyclopaedia Britannica logo and "Founders' Edition" stamped on the front board in gilt. This first edition of the Great Books of the Western World is limited to 500 copies and is signed by the editor, Robert Hutchins, in the first volume. The first volume also contains a list of subscribers. Included are the notes of the formal presentation dinner for the Great Books, held on April 15, 1952 at the Waldorf-Astoria in New York. These include speeches by Lawrence A. Kimpton, Jacques Maritain, Clifton Fadiman, Robert Hutchins, Mortimer Adler, Senator William Benton, and Consul General Hobson.

      [Bookseller: Stick Figure Books (ABAA/ILAB)]
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        The White Rabbit From the Story told to him by Wing-Commander F E E Yeo-Thomas IN FULL MOROCCO

      Evans Brothers,, [1952]. 8vo. First Edition with portrait frontispiece and 11 plates on 8; handsomely bound in navy blue full morocco sides with gilt frame border back with five raised bands second and fourth compartments ruled and lettered in gilt all other compartments tooled a The harrowing yet uplifting story of SOE agent Wing-Commander Forest Yeo-Thomas code-named 'White Rabbit'. Parachuted into occupied France in early 1944 he was captured arrested and many times tortured to the point of death. After several attempts at esca

      [Bookseller: Island Books [formerly of Devon]]
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        Chagall.

      Paris, Editions Pierre a Feu, Maeght editeur. Mars - avril 1952.. Folio. 16 p., avec 2 lithographies originales en couleurs en double page et 6 illustrations en noir.. Texte par Gaston Bachelard "La lumiere des origines", Charles Estienne "Le mur des fables" et Ambroise Vollard "J'edite les Fables de La Fontaine et je choisis Chagall comme illustrateur". - Les lithographies originales: "Le coq rouge" et "Le cheval brun". - Bel exemplaire.

      [Bookseller: Antiquariat Daniel Thierstein]
 42.   Check availability:     ZVAB     Link/Print  


        Adolf Hitler. Mein Frieden.

      Frankfurt am Main Reihenbuch-Verlag 1952 - Umschlag berieben und beschabt sowie mit Randläsuren und Einrissen; Umschlag mit Tesafilm an den Spiegel montiert; Leihbücherei-Stempel am Spiegel; fliegendes Vorsatz fehlt; papierbedingt gebräunt. Aus dem Vorwort des Verfassers: 'Adolf Hitler - dieser Name zwingt die Erinnerung herauf an so Furchtbares, an so unsagbar Grauenvolles, daß es aus begreiflicher innerer Abwehr heraus die meisten nicht wahrhaben möchten. . Die Persiflage, die Satire, hat die Eigenschaft, zusammenzufassen, übersichtlich machen zu können. So ernst auch alles ist, was mit dieser Erscheinung von düsterer Dämonie - Adolf Hitler - zusammenhängt -, auch ihr gegenüber hat die Persiflage, die Satire ihr Recht. . Nur die Persiflage, nur die Satire können zu jenem Lachen führen, das befreit. Selbst wenn es, wie im Fall Adolf Hitler nicht anders möglich, nur ein bitteres Lachen sein kann. Aber auch das bittere Lachen entspringt der befreienden Erkenntnis. Sie, und nur sie allein, ist der Zweck dieses Buches. Der Verfasser.' - 'Mit dem in den fünfziger Jahren sehr wahrscheinlich von Hanns Kurth (1904 – 1976) unter dem Pseudonym Edwin E. Moeller geschriebenen Leihbuch "Adolf Hitler- mein Frieden" veröffentlicht der umstrittene Unital- Verlag in seiner verbotenen Zone einen satirisch- utopischen Roman neu. Ganz bewusst ist das Titelbild der damaligen Leihbuchausgabe provozierend provokant an Hitlers "Mein Kampf" angelehnt und prompt von der Bundesprüfstelle auf den Index gesetzt [worden]. Diese[s] umgehende Verbot macht den Text zu einem der seltensten Leihbücher, dass jetzt für begrenzte Zeit und vor allem auch in begrenzter Auflage vom Unital-Verlag neu mit einem eher angemessenen, den satirischen Inhalt würdigenden Titelbild neu veröffentlicht worden ist. (Thomas Harbach in der Rezension der Neuauflage). - [Attributes: Hard Cover]

      [Bookseller: Mattheis]
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