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Displayed below are some selected recent viaLibri matches for books published in 1954

        Horton Hears a Who!

      Random House 1954 - A very good first printing in a very good dust jacket, inscribed by Seuss with a drawing, on the back of 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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        A Fable

      New York: Random House, 1954. 1st. Decorative Cloth. Collectible; Fine/Fine. A sparkling copy of the 1954 stated 1st printing. Immaculate and Fine in a bright, price-intact, Fine dustjacket. Octavo, 437 pgs. Also includes a custom-made box (with leather spine label) and folding chemise. The sharpest copy this bookseller has seen.

      [Bookseller: Appledore Books, ABAA ]
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        HARMSWORTH TRUST LIBRARY. PART 1-35 (lacking no.14). With CATALOGUE OF BOOKS OMITTED OR RETURNED FROM PREVIOUS SALES (1954)|THE

      London: Sotheby & Co. 1939-1954. 8vo. stiff paper wrappers. variously paginated. Forming part of the renowned library of the late Sir R. Leicester Harmsworth, BT., LL. D. (Blogie III, 116, 117, 118, 129, 130, 133). Auction of the library of Sir R. Leicester Harmsworth, 1939-1954. Includes English literature, prayer books, a collection of John Bunyan's works, and Americana. 10,260 lots. Some wrappers bent, lightly soiled or slightly torn. Catalogue for 14th part of auction missing. Supplemental catalogue of books omitted or returned from previous sales with 104 lots included. Very difficult to assemble as a set.

      [Bookseller: Oak Knoll]
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        ORIGINAL WATERCOLOUR PAINTING BY THE RENOWNED ARTIST AND ILLUSTRATOR EDMUND DULAC, (Sold together with:) THE MASQUE OF COMUS, The Poem by John Milton With a Preface by Mark Van Doren & The Airs by Henry Lawes with a Preface by Hubert Foss.

      The book published in Cambridge: At the University Press for Members of the Limited Editions Club, 1954. Together two items. AN ORIGINAL WATERCOLOUR PAINTING, SIGNED by Dulac and reprinted as one of the illustrations for the publication of COMUS. With, a copy of the book itself, first edition thus from the L.E.C. in a printing of 1500 numbered copies. The painting is of a woman standing in field of flowers within the curve of a dragon?s tale. Behind her is a large tree laden with fruit and with additional floral and arboreal decorations in the background. The book contains the printed version of this work along with 5 other colourplates from original watercolours by Dulac. This was the last book to be illustrated by Dulac. With frame,16.5? 13.5? , the painting is now handsomely matted and presented in silver-leafed wooden frame. The book is in the publisher?s original parchment backed marbled boards, the spine lettered in gilt and housed in the original black slipcase lettered in gilt. 58, [16]. The original painting in beautiful condition, very handsomely framed and presented, the book is a fine and bright copy, the slipcase only with very minor wear. A RARE AND BEAUTIFUL ORIGINAL PAINTING BY EDMUND DULAC. Dulac is considered one of the most original and prolific book illustrator?s of the first two decades of the 20th century. His name is often linked with Arthur Rackham, as they both produced illustrations for lavish gift books for children and adults which were of the highest quality and commercial success. Dulac, born a Frenchman, settled in England to build his artistic career. He quickly caught the eye of J.M Dent publishers and produced illustrations for an illustrated edition of Jane Eyre in 1905. But it was when he was discovered by Leicester Galleries that his career actually took off. They had been seeking another talented artist of the stature and appeal of Arthur Rackham for children?s gift book illustrations. At that time, children?s books were purchased by the wealthy as symbols of good taste and there was a huge market to be captured by a new, imaginative artist. Dulac was the perfect choice. Dulac offered a new sensibility to book illustration by his intense use of color, his Eastern atmosphere, his brightly jeweled patterns, and mystical themes. His work met with instant success and approbation. From 1907 with the publication of his magnificent Arabian Nights until 1914 with the issue of Sinbad the Sailor, he published an annual collection of outstanding watercolors for gift books for children. These books included: The Tempest in 1908, the Rubaiyat of Omar Khayyam in 1909, Sleeping Beauty in 1910, Stories from Hans Anderson in 1911, Bells and other Poems (Edgar Allan Poe) in 1912, and Princess Badoura in 1913. During the war years, when an understandable shift in publishing took place, he produced Princess Mary?s Gift Book, King Albert?s Books, Edmund Dulac?s Picture Book for the French Red Cross, and in 1916 Edmund Dulac?s Fairy Book. All of his books were highly praised and he became one of the most sought after illustrators in the world. Dulac as a young artist had been deeply inspired by William Morris, Walter Crane and Aubrey Beardsley. He had a spiritual temperament which developed throughout his life and was intensified by his exposure to Eastern mysticism. Much of his art was inspired by Persian miniatures in its use of bright, radiant colors, detailed patterns and asymmetrical compositions. He aimed to take his art out of the realm of representation and into a more subjective, mystical ?eternal? plane. He produced some of the most enduring works of beauty and transcendence during his artistic career, and continues to be appreciated and collected to this day. Dulac's illustrations conjure the mysterious atmosphere of the oriental text and transport the reader to a lyrical world of grace and beauty. ?The Arabian Nights gave Dulac an opportunity to indulge in his nocturnes; the the softness of the gleam of moonlight on stone, or on shadowy figures, and his use of ultramarine, indigo and Prussian blue, mingled with purples and violets, brought to the illustrations the calm and mystery of Eastern nights.?-Colin White Dulac's illustrations evoked the oriental atmosphere in a new and beautiful way and he treated each picture with a seriousness that brought him great praise, showing that he, like any fine easel painter could accomplish great art, even for use in the book arts. The book sealed his reputation and set him permanently on the long course of success he would enjoy throughout his career. The original painting offered here represents a rare opportunity to own one of the painter?s most accomplished pieces.

      [Bookseller: Buddenbrooks, Inc.]
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        Windows [SIGNED]

      Chateau Noir, Aix-en-Provence: Privately published, 1954. 1st Edition . Very Good Plus/Very Good. 6.5 x 9.75 inches (16.5 x 24.5 cm). Signed by Author. Slipcase: Handmade paper covered slipcase with light marking and staining. . Overall case condition is Very Good Minus. Book: Limited Edition No. 29 of 30 copies. Handprinted from the stone on Auvergne rag, with an original cover illustration signed by the artist. Handmaded paper covered casing with title printed to spine (boards slightly bowed). Original signed illustration by Cecil Michaelis enclosed in the original translucent paper protector. The book is constructed of loosely tied leaves within a couple of thicker blank sheets, a loose sheet of tissue is inserted between each printed page. Also signed by Michaelis to the limitation page. Excellent condition throughout. Cecil Michaelis was a South African artist, the son of mining magnate Sir Max Michaelis. He owned Rycote Park in Oxfordshire but spent most of his adult life in France. He also worked in glass, ceramics and sculture, and shortly after publishing this book he set up a studio in Aix-en-Provence with the ceramicist Jean Buffile. A very rare item, WorldCat locates only one other copy at Bibliotheque Nationale de France. Overall book condition is Very Good Plus. International postage will be less than the stated rate. Actual costs are Europe £11.35; Oceania £15.55; Rest of World £14.90. A postage refund will be made after the order has been placed. Hardback. Printed pages: 27

      [Bookseller: Tarrington Books]
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        L'été EDITION ORIGINALE Service de presse ENVOI AUTOGRAPHE

      Paris: Gallimard, 1954. Fine. Gallimard, Paris 1954, 12x19cm, broché. - First edition, one advance (service de presse) copy. Handsome autograph inscription from Albert Camus to Maurice Blanchot : « avec l'amicale et très fidèle pensée d'Albert Camus ». Spine and covers slightly and marginally faded, with occasional spots. « Trois ans pour faire un livre, cinq lignes pour le ridiculiser - et les citations fausses. » La réception de L'Etranger par les critiques fut pour Camus une douloureuse déception. Dans son refuge du Panelier, Camus reçoit les "feuilletons" que lui envoie Pascal Pia avec quelques commentaires souvent désabusés comme sur l'article d'Henriot paru dans le Temps : « Je n'avais jamais douté qu'Henriot fut un con. Il a tenu à confirmer cette opinion. » A côté de quelques articles élogieux que Gallimard tient à souligner : « La critique a été absurde en effet. Pourtant il y a eu un bon article d'Arland dans Coemedia et un autre également favorable dans la NRF. » Mais ce sont là des articles "Maison" et d'ailleurs pas nécessairement brillants: « Et quelques réserves que l'on fasse à l'égard de cette pensée (...) l'important est que la position de M. Camus soit sincère... » Camus n'en est pas dupe: « La critique: médiocre en zone libre, excellente à Paris. Finalement tout repose sur des malentendus. » Aussi lorsque Pia lui envoie l'article de Blanchot paru durant l'été 1942 (et repris dans Faux-pas en 1943) il ajoute cette appréciation : « Je crois que c'est jusqu'ici, ce qu'on a écrit de plus intelligent sur votre livre. » L'intérêt que se portent les deux écrivains est immédiat. Dès le mois d'août 1942, Camus se fait envoyer les deux romans de Blanchot et leur consacre un paragraphe dans son carnet : « Thomas découvre la mort en lui qui préfigure son avenir. (...) Tout s'éclaire - mais de la lumière sans éclat qui baigne les asphodèles du séjour mortel. » A l'automne, Blanchot consacre à nouveau une longue analyse à Sisyphe : « le livre de M. Camus mérite d'être apprécié un peu mieux que comme un livre littérairement remarquable. »  Liés par une admiration mutuelle, Camus et Blanchot se rencontrent régulièrement au jury de la Pléiade ou aux comités de l'Arche et de Gallimard dont ils sont tous deux membres. Leurs parcours littéraires se font également parfois étrangement écho à l'instar de La Peste et du Très-Haut, « allégories politiques fondées sur le développement imaginaire d'une épidémie dans la cité », publiés à un an d'intervalle. En 1954, date de parution de L'Eté, Blanchot publie plusieurs analyses de l'œuvre de Camus, réflexions critiques parfois sévères, mais procédant toujours d'une lecture attentive et rigoureuse qui témoigne de la proximité intellectuelle des deux hommes. A la mort de Camus, Blanchot lui rendra un vibrant hommage (repris plus tard dans L'Amitié): « La mort qui a frappé Camus (...) nous a rendus, dans une part profonde de nous-mêmes, déjà mourants, nous avons senti combien nous étions heureux d'être [son] contemporain et de quelle manière traîtresse ce bonheur se trouvait à la fois révélé et obscurci, davantage encore : comme si le pouvoir d'être contemporains de nous-mêmes, en ce temps auquel nous appartenions avec [lui], se voyait soudain altéré gravement. » - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires du service de presse. Précieux envoi autographe signé d'Albert Camus à Maurice Blanchot : « avec l'amicale et très fidèle pensée d'Albert Camus ». Dos et plats légèrement et marginalement piqués et passés. « Trois ans pour faire un livre, cinq lignes pour le ridiculiser - et les citations fausses. » La réception de L'Etranger par les critiques fut pour Camus une douloureuse déception. Dans son refuge du Panelier, Camus reçoit les "feuilletons" que lui envoie Pascal Pia avec quelques commentaires souvent désabusés comme sur l'article d'Henriot paru dans le Temps : « Je n'avais jamais douté qu'Henriot fut un con. Il a tenu à confirmer cette opinion. » A côté de quelques articles élogieux que Gallimard tient à souligner : « La critique a été absurde en effet. Pourtant il y a eu un bon article d'Arland dans Coemedia et un autre également favorable dans la NRF. » Mais ce sont là des articles "Maison" et d'ailleurs pas nécessairement brillants: « Et quelques réserves que l'on fasse à l'égard de cette pensée (...) l'important est que la position de M. Camus soit sincère... » Camus n'en est pas dupe: « La critique: médiocre en zone libre, excellente à Paris. Finalement tout repose sur des malentendus. » Aussi lorsque Pia lui envoie l'article de Blanchot paru durant l'été 1942 (et repris dans Faux-pas en 1943) il ajoute cette appréciation : « Je crois que c'est jusqu'ici, ce qu'on a écrit de plus intelligent sur votre livre. » L'intérêt que se portent les deux écrivains est immédiat. Dès le mois d'août 1942, Camus se fait envoyer les deux romans de Blanchot et leur consacre un paragraphe dans son carnet : « Thomas découvre la mort en lui qui préfigure son avenir. (...) Tout s'éclaire - mais de la lumière sans éclat qui baigne les asphodèles du séjour mortel. » A l'automne, Blanchot consacre à nouveau une longue analyse à Sisyphe : « le livre de M. Camus mérite d'être apprécié un peu mieux que comme un livre littérairement remarquable. »  Liés par une admiration mutuelle, Camus et Blanchot se rencontrent régulièrement au jury de la Pléiade ou aux comités de l'Arche et de Gallimard dont ils sont tous deux membres. Leurs parcours littéraires se font également parfois étrangement écho à l'instar de La Peste et du Très-Haut, « allégories politiques fondées sur le développement imaginaire d'une épidémie dans la cité », publiés à un an d'intervalle. En 1954, date de parution de L'Eté, Blanchot publie plusieurs analyses de l'œuvre de Camus, réflexions critiques parfois sévères, mais procédant toujours d'une lecture attentive et rigoureuse qui témoigne de la proximité intellectuelle des deux hommes. A la mort de Camus, Blanchot lui rendra un vibrant hommage (repris plus tard dans L'Amitié): « La mort qui a frappé Camus (...) nous a rendus, dans une part profonde de nous-mêmes, déjà mourants, nous avons senti combien nous étions heureux d'être [son] contemporain et de quelle manière traîtresse ce bonheur se trouvait à la fois révélé et obscurci, davantage encore : comme si le pouvoir d'être contemporains de nous-mêmes, en ce temps auquel nous appartenions avec [lui], se voyait soudain altéré gravement. »

      [Bookseller: Librairie Le Feu Follet]
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        Cronache e altre poesie

      Milano: Schwarz, Dialoghi col Poeta , 1954. Brossura (wrappers). Molto Buono (Very Good). Con tre disegni in nero di Giuseppe Migneco. 8vo. pp. 40. Molto Buono (Very Good). Copertina e pagine leggermente brunite ai margini (Pages slightly browned to edges). Prima edizione di 500 es. numerati. Opera prima dell'Autore.

      [Bookseller: Studio Bibliografico MArini]
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        Dionysos bei den Barbaren. Ein Reigen mit einem Vorspiel \"Die Flucht des Dionysos\". Handgeschriebenes, handgemaltes und signiertes Exemplar. (signiert und gewidmet vom Autor)

      Königswusterhausen, Merlin, 1954. Unikat: \"Dichterhandschriften der Merlin Presse: Opus 227\" 26 ungez., farbige, handgeschr. (unbeschnittene) Blätter in einem farbigen Or.-Umschlag, gehalten durch Kordelbindung. 4to. Mit 6zeiliger persönlicher Widmung an Hans Ludwig Geiger, signiert und datiert am 17. November 1961 sowie einem handgeschriebenen Brief vom Autor an Geiger. Beiliegend eine Fotokopie des Werkes vom Autor \"Leonardo\", sowie der handgeschriebenen Adresse des Autors in Berlin. Insges. sauber, Kanten minim. angestoßen. Versand D: 5,00 EUR

      [Bookseller: René Burkert]
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        Madame De Pompadour.

      London: Hamish Hamilton, 1954. First edition. Octavo, original cloth. Inscribed by the author in the year of publication on the front free endpaper, "Mrs. Jean Jeffcoat with best wishes Nancy Mitford Paris 1954." Near fine in a very good dust jacket with a chip to the spine and front panel. Cecil Beaton designed the dust jacket art. Uncommon signed. When Madame de Pompadour became the mistress of Louis XV, no one expected her to retain his affections for long. A member of the bourgeoisie rather than an aristocrat, she was physically too cold for the carnal Bourbon king, and had so many enemies that she could not travel publicly without risking a pelting of mud and stones. History has loved her little better. Nancy Mitford's delightfully candid biography re-creates the spirit of eighteenth-century Versailles with its love of pleasure and treachery. We learn that the Queen was a "bore," the Dauphin a "prig," and see France increasingly overcome with class conflict. With a fiction writer's felicity, Mitford restores the royal mistress and celebrates her as a survivor, unsurpassed in "the art of living," who reigned as the most powerful woman in France for nearly twenty years.

      [Bookseller: Raptis Rare Books]
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        LUCKY STARR AND THE OCEANS OF VENUS

      Garden City: Doubleday & Company, Inc., 1954. First edition. An about fine copy, free end paper and half title page show mark and staining from paper clip which held review slip attached in a very good plus dust jacket, shelf wear with minor chipping to head of spine panel, small closed tear to upper front panel, light rubbing to upper right corner, longish closed tear and creasing to rear panel with some rubbing to letter at upper rear panel. A respectable copy of an uncommon title. (8173). Octavo, cloth. Review slip from the New York Times Book Review laid in. Third in the Lucky Starr series. Jacket art by Richard Powers.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Fahrenheit 451 - with an unfaded spine

      Rupert Hart-Davis, 1954. Hardcover. Very Good. A first edition, first printing published by Rupert Hart-Davis in 1954. A very good+ book without inscriptions (some very light spotting to the page edges). Some light bumping to the boards. In a very good+ (or better) unclipped wrapper with a completely UNFADED wrapper. Some darkening to the front hinge. A little creasing to the spine. A very rare book with an unfaded spine.

      [Bookseller: John Atkinson Books]
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        Exposition Vallauris 1954

      Arnéra, Vallauris 1954 - Linogravure originale en couleurs imprimée par Arnéra, (90 X 60 cm). Tirage limité à 600 exemplaires. Czwiklitzer N° 12. Original linoleum cut in 2 colors printed by Arnéra, from an edition of 600 prints, 69 x 60 cm.(CZ 12).

      [Bookseller: La Basse Fontaine]
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        Le Déjeuner frugal

      Mourlot, Paris 1954 - Affiche pour une Exposition consacrée à l' Oeuvre Graphique de Picasso au Kunsthaus de Zürich Czwiklitzer DTV N° 94 Format 100 x 65 cm.

      [Bookseller: La Basse Fontaine]
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        AS I SEE

      ARTZYBASHEFF, BORIS. ARTZYBASHEFF,BORIS. AS I SEE. NY: Dodd Mead 1954 (1954). 4to (8 1/2 x 11 1/2"), tan cloth, VG+ in chipped dust wrapper with some mends on verso. 1st edition. This is a collection of drawings and paintings by Artzy., half of which were made especially for this book and all of which have to be seen to be believed. At once fantastic and satirical, there are some fabulous humanized machines that defy description. INCLUDED WITH THIS IS A CHRISTMAS GREETING POSTER FROM THE ARTZYBAHEFFS MEASURING 13 1/2" WIDE X 12". TITLED "RETRACTABLE, RADAR CONTROLLED, AUTOMOTIVATED CHRISTMAS TREE" THAT HAS AN INTRICATE AND BIZARRE ILLUSTRATION. ALSO, LAID IN IS A GREETING CARD INSCRIBED TO DOROTHY LATHROP FROM BORIS AND ELISABETH ARTZYBASHEFF WITH AN ILLUSTRATION ON THE COVER.

      [Bookseller: Aleph-Bet Books, Inc.]
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        FOUR TYPED LETTERS SIGNED by the Hollywood Producer & Agent RAY STARK to the Novelist & Screenwriter BEN HECHT & his wife, regarding FILM PRODUCTIONS of HECHT'S "MIRACLE IN THE RAIN" & "IRON PETTICOAT".

      Beverly Hills, California, September 27, 1954 through January 14, 1955. [1954]. [1954]. - - Four signed letters typed in green ink on Ray Stark's 10-5/8 inch high by 7-1/4 inch wide "Famous Artist's Corporation Agency" stationery, with the firm's logo embossed in green at the top of creamy white paper. In his first letter of approximately 90 words dated September 27, 1954, Ray Stark, acting as Ben Hecht's agent, writes to him about Frank Rosenberg's deal regarding "Miracle in the Rain". Stark pleads with Hecht to not "be a soft-hearted cuss and let him talk you into anything." He goes on to write that "Frankly, this looks like a lot of crap to me. If he is producing the picture, you should receive one-half, unless he wants to give up his claim to the $10,000." and closes by requesting that Hecht send him "a copy of the wire" in which Rosenberg claims to have told him of the details. Signed "Ray" in green ink.In a retained carbon copy of his letter of the same date addressed to Frank Rosenberg, Stark sets the scene for what he clearly sees unfolding. He writes Rosenberg that "I am still rather confused about the exact details of the sale of Miracle in the Rain to Warner Brothers", and inquires as to whether this is a definite sale or contingent upon the selection of a director. He then goes on to question Rosenberg's deal with Warner: "It is difficult for me to understand how you can be under contract to Warner's as a producer, be assigned MIRACLE IN THE RAIN as your first picture, and yet, as you stated to me this morning, consider the producer deal separate." He then urges that Rosenberg have his agent acquaint him with the details.In typed letter of over 140 words to Ben Hecht dated October 20, 1954, Ray Stark inquires about "the Saltzman thing", Harry Saltzman's first film based on Ben Hecht's script "Not for Money" which was contentiously released as "The Iron Petticoat" in 1956. Mentioning that other projects were still "on the fire", he mentions that "Kirk [Douglas] is really, really excited about the play and it would help very much if you could send him any portion of it that you are satisfied with. He has told me that if he liked the play, he would rather do it than any of the films which are on tap for the next several months." Kirk Douglas had starred in the 1954 film "Ulysses", the script of which was co-written by Ben Hecht and subsequently co-produced and starred in the 1955 Western "The Indian Fighter" for which Ben Hecht wrote the screenplay from a story by Robert L. Richards. Here Stark is referring to Hecht's play "Not for Money" which was eventually released as "The Iron Petticoat" starring Bob Hope and Katharine Hepburn. Ray Stark concludes his letter to Hecht which he neglets to sign with a 14 word autograph note penned in blue ink "And please don't get involved privately with the play until you check with me".A retained carbon copy of a letter to Ray Stark from MCA's Arthur L. Park, Jr. acknowledges receipt of Stark's letter and that he, Park, will advise him as soon as the contract for "Miracle in the Rain" is signed. He goes on to say that "Incidentally, Mr. Rosenberg has advised me that he discussed the Warner Bros. deal in detail with Mr. Hecht personally before accepting it and that Mr. Hecht had voiced his complete approval."In a 241 word Typed Letter Signed dated October 25, 1954, Ray Stark writes to Ben Hecht expressing his excitement at talking with him "this morning about the play." "I know how very rarely you are enthusiastic - at least this enthusiastic, about your projects, so I am really sitting on the edge of my chair waiting to read it." He further pens the following note at the end of this paragraph: "I hope you've sent act one". Going on to discuss other matters, he writes: "I am also so very happy that you like Saltzman. He is a tough business man and this is good. Also, I think he is a very honest guy - as well as a very good promoter. Once again, Ben, I just hope you don't sign any papers unless you send them through me." Stark goes on to write extensively about the need t [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Blue Mountain Books & Manuscripts, Ltd.]
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        Mémoires de guerre

      first edition on ordinary paper, mentions of one thousand for each copy. Binders in full red shagreen, back with three nerves struck in their centers with a cross of gilded Lorraine, golden initials in tails, guards and plies of gray paper, blankets, backs and jackets preserved, heads gilded. Autographed and signed autograph of Charles De Gaulle to the Duplay squadron chief: "... in memory of our fight ..." on the first volume, handwritten signatures of General de Gaulle on the following. Pleasant copy enriched with a beautiful autograph signed by General De Gaulle in a Gaulish binding. Plon Paris 1954-1959 14,5x23cm 3 volumes reliés

      [Bookseller: Librairie Le Feu Follet]
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        Féerie pour une autre fois II Normance EDITION ORIGINALE Service de presse ENVOI AUTOGRAPHE

      Paris: Gallimard, 1954. Fine. Gallimard, Paris 1954, 14x21cm, broché. - First edition, one advance (service de presse) copy. Handsome autograph inscription from Louis-Ferdinand Céline to Micheline (Deshayes), dated "Meudon 1954". Micheline Deshayes est une danseuse étoile, amie de Céline et Lucette Destouches depuis plus de dix ans. On retrouve à son propos la critique d'une de ses prestations au Grand théâtre de Reims dans le Guide du Concert de 1956: "Les deux danseurs étoiles de grande classe (...) se sont taillés un beau succès en particulier dans les préludes de Liszt où Micheline Deshayes fit admirer le fini de sa technique mise au service d'une grâce aussi sensible que légère".La passion de Céline pour la danse et les danseuses naît en 1915 dans les Music-Hall londoniens, et devient rapidement constitutive de sa vie comme de son oeuvre. D'Elisabeth Craig, sa compagne de 1926 à 1933, dédicataire du Voyage à Lucette Almanzor (avec laquelle il se marie en 1944), et sa grande amie Karen Marie Jensen, les femmes les plus importantes de la vie de Céline sont des danseuses. Céline témoigne régulièrement dans sa correspondance de l'importance que revêt pour lui cette forme artistique: "il m'est impossible de vivre sans la danse" et "danser tout est là - Nietzsche (si surfait) ne se trompait pas - 'je ne croirai a un dieu que s'il danse' s'il raisonne ce cuistre à l'école !" (cf. cahiers de l'Herne n° 3 et 5). Dès 1933, il compose plusieurs ballets qu'il tentera vainement de faire jouer. Comme le souligne H. Godard qui y consacre un chapitre de sa biographie (Gallimard, 2011, p.222-231), la danse constitue pour Céline "un besoin existentiel (...) elle a le pouvoir d'alléger en lui la souffrance intime causée par sa vision si noire de l'homme et de la vie". Et il conclut: "les danseuses aident Céline à supporter les violences [du monde] (...) aussi bien que celles qu'elles suscitaient chez lui en retour."Ainsi son pamphlet, "Bagatelles" s'ouvre-t-il sur cette image de communion avec le monde, de "raffinement" : "Dans une jambe de danseuse le monde, ses ondes, tous ses rythmes, ses folies, ses voeux sont inscrits ! ... Jamais écrits !... Le plus nuancé poème du monde !... (...) Le poème inouï, chaud et fragile comme une jambe de danseuse en mouvant équilibre est en ligne, Gutman mon ami, aux écoutes du plus grand secret, c'est Dieu !(...) Je ne veux plus travailler que pour les danseuses... Tout pour la danse !". Suivent les textes de deux ballets de Céline : "Naissance d'une fée et "Voyou Paul, brave Virginie ". Contrepoids à la violence de la narration, la danse réapparaît à la fin du pamphlet avec un nouveau ballet : "Van Bagaden", dont le texte clôt le livre.Voie de la réconciliation (impossible?) de Céline avec le monde, c'est à travers la danse qu'il formule le terrible constat d'échec du Voyage: "On n'a plus beaucoup de musique en soi pour faire danser la vie, voilà." Mais c'est aussi la danse qui assure la fonction salvatrice de l'écriture : "Le texte [doit] être danse, se tenir toujours au bord de la mort, mais ne pas tomber dedans" (note à un de ses traducteurs, cf. H. Godard, p. 226).Le premier feuillet a été mal découpé par le dédicataire ayant occasionné de légers manques marginaux sans gravité, ex-dono de la dédicataire en tête de la page de faux-titre. Rare et précieux envoi autographe signé de Louis-Ferdinand Céline à une danseuse qui lui témoigna toujours son amitié malgré ses avanies. (références bibliographiques: Henri Godard, Céline, Gallimard, 2011; Jacques Lecarme. Images de la S.D.N ches Céline et chez Cohen In Albert Cohen dans son siècle: actes du colloque international de Cerisy-la Salle). - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires du service de presse. Précieux envoi autographe signé de Louis-Ferdinand Céline à Micheline (Deshayes), situé et daté "Meudon 1954". Micheline Deshayes est une danseuse étoile, amie de Céline et Lucette Destouches depuis plus de dix ans. On retrouve à son propos la critique d'une de ses prestations au Grand théâtre de Reims dans le Guide du Concert de 1956: "Les deux danseurs étoiles de grande classe (...) se sont taillés un beau succès en particulier dans les préludes de Liszt où Micheline Deshayes fit admirer le fini de sa technique mise au service d'une grâce aussi sensible que légère".La passion de Céline pour la danse et les danseuses naît en 1915 dans les Music-Hall londoniens, et devient rapidement constitutive de sa vie comme de son oeuvre. D'Elisabeth Craig, sa compagne de 1926 à 1933, dédicataire du Voyage à Lucette Almanzor (avec laquelle il se marie en 1944), et sa grande amie Karen Marie Jensen, les femmes les plus importantes de la vie de Céline sont des danseuses. Céline témoigne régulièrement dans sa correspondance de l'importance que revêt pour lui cette forme artistique: "il m'est impossible de vivre sans la danse" et "danser tout est là - Nietzsche (si surfait) ne se trompait pas - 'je ne croirai a un dieu que s'il danse' s'il raisonne ce cuistre à l'école !" (cf. cahiers de l'Herne n° 3 et 5). Dès 1933, il compose plusieurs ballets qu'il tentera vainement de faire jouer. Comme le souligne H. Godard qui y consacre un chapitre de sa biographie (Gallimard, 2011, p.222-231), la danse constitue pour Céline "un besoin existentiel (...) elle a le pouvoir d'alléger en lui la souffrance intime causée par sa vision si noire de l'homme et de la vie". Et il conclut: "les danseuses aident Céline à supporter les violences [du monde] (...) aussi bien que celles qu'elles suscitaient chez lui en retour."Ainsi son pamphlet, "Bagatelles" s'ouvre-t-il sur cette image de communion avec le monde, de "raffinement" : "Dans une jambe de danseuse le monde, ses ondes, tous ses rythmes, ses folies, ses voeux sont inscrits ! ... Jamais écrits !... Le plus nuancé poème du monde !... (...) Le poème inouï, chaud et fragile comme une jambe de danseuse en mouvant équilibre est en ligne, Gutman mon ami, aux écoutes du plus grand secret, c'est Dieu !(...) Je ne veux plus travailler que pour les danseuses... Tout pour la danse !". Suivent les textes de deux ballets de Céline : "Naissance d'une fée et "Voyou Paul, brave Virginie ". Contrepoids à la violence de la narration, la danse réapparaît à la fin du pamphlet avec un nouveau ballet : "Van Bagaden", dont le texte clôt le livre.Voie de la réconciliation (impossible?) de Céline avec le monde, c'est à travers la danse qu'il formule le terrible constat d'échec du Voyage: "On n'a plus beaucoup de musique en soi pour faire danser la vie, voilà." Mais c'est aussi la danse qui assure la fonction salvatrice de l'écriture : "Le texte [doit] être danse, se tenir toujours au bord de la mort, mais ne pas tomber dedans" (note à un de ses traducteurs, cf. H. Godard, p. 226).Le premier feuillet a été mal découpé par le dédicataire ayant occasionné de légers manques marginaux sans gravité, ex-dono de la dédicataire en tête de la page de faux-titre.Rare et précieux envoi autographe signé de Louis-Ferdinand Céline à une danseuse qui lui témoigna toujours son amitié malgré ses avanies.(références bibliographiques: Henri Godard, Céline, Gallimard, 2011; Jacques Lecarme. Images de la S.D.N ches Céline et chez Cohen In Albert Cohen dans son siècle: actes du colloque international de Cerisy-la Salle).

      [Bookseller: Librairie Le Feu Follet]
 17.   Check availability:     IOBABooks     Link/Print  


        Histoire de l'astronomie ancienne, depuis son origine jusqu'a l'établissement de l'École d'Alexandrie.Paris, Debure brothers, 1775. 4to. With 3 numbered folding engraved plates. Beautifully bound in contemporary gold-tooled red morocco, each board with coat of arms of Simon-Pierre Merard de Saint-Just in the centre, marbled endpapers. In modern slipcase covered with marbled paper.

      DSB I, pp. 400-402; Houzeau & Lancaster 22; Smith, "Jean-Sylvain Bailly; astronomer, mystic, revolutionary", in: Transactions of the American Philosophical Society, n.s. 44 (1954), pp. 427-538. First edition of a history of astronomy from prehistoric times to the Alexandrian school in the third century BC, by Jean-Sylvain Bailly. It covers not only European and biblical sources but also the cosmographical concepts of Chinese, Egyptian, Persian and Chaldean astronomers. Some of the surviving artefacts that provided a basis for his studies are illustrated in the plates, which are designed to fold out so that one can view them while paging through the text.This copy was originally owned by and bound for Bailly's most important contemporary biographer, his friend Simon-Pierre Mérard de Saint-Just, who published Eloge historique de Jean-Sylvain Bailly (1794). His arms appear on the binding. In very good condition, with only a few minor spots. The binding also very good, only slightly worn around the corners and hinges. An important work on ancient astronomy, beautifully bound for the author's biographer.

      [Bookseller: Antiquariaat FORUM BV]
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        Enciclopedia Cattolica - 12 volumi

      \, 1954. UsatoAccettabile Copertina: logorata Pagine: ingiallite da fattore tempo italiano

      [Bookseller: Libro di Faccia]
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        Reach for the Sky. The Story of Douglas Bader. [Sixth Impression]. SIGNED COPY IN FULL MOROCCO

      Collins, [1954] - 8vo., Sixth Impression, with frontispiece and 24 plates on 12; handsomely bound in burgundy full crushed morocco, sides with gilt frame border, back with raised bands tooled in gilt, second and fourth compartments lettered in gilt, all other compartments tooled in gilt, a most attractive copy ideal as a gift or for presentation. SIGNED BY THE AUTHOR ON DEDICATION. Published five months after the first impression. Written by Paul Brickhill (already celebrated as the author of another RAF classic 'The Dam Busters', 1951), 'Reach for the Sky' remains the best account of the legless Battle of Britain hero. It was the basis of Lewis Gilbert's hugely successful feature film (1954) starring Kenneth More in what was arguably his finest role. One of the legendary figures of the Royal Air Force, Douglas Bader was from the outset an outstanding athlete. As a cadet at Cranwell he gained his 'blues' for cricket, rugby, hockey and boxing. He represented the RAF at both cricket and rugby and would probably have been capped for England but for the accident that changed his life and created a legend. In 1931 a near-fatal air crash left him legless. Knowing that no man with such a handicap had ever walked without a stick he nevertheless found his way back to fitness playing tennis, golf and many others sports. He even flew again, until the authorities determined that a pilot without legs could not fly and discharged him from the service. With the outbreak of War he fought to be readmitted, not merely to a desk job, but back to the cockpit. Finally he was given command of a flight which quickly increased to five squadrons as the RAF realised that he was not only an outstanding pilot but an inspired leader of men and a fighter tactician almost of genius. Even as a POW his spirit was such that his captors were forced at one stage to remove his artificial limbs to prevent the chance of his escaping. Enser, p.375 (recording the first edition) [Attributes: First Edition; Hard Cover]

      [Bookseller: Island Books]
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        Live and Let Die - In first issue wrapper complete with clamshell box

      Cape, 1954. Hardcover. Near Fine. A first edition, first printing published by Cape in 1954. The book is very good+/near fine with one name to the ffep and a small bookseller's ticket to the corner of the front pastedown. The gilt on the vignette to the front board and the spine titles is slightly faded. In a very good+ unclipped first issue wrapper which has NO mention of the dust wrapper artist, Kenneth Lewis on the front flap. The spine of the wrapper is a deep purple with some minor wear to the head of the spine and to corners. Some gentle soiling to the rear panel. Some very faint staining to the end-flaps. Now housed in a custom-made clamshell box decorated with gilt titles. A rare first edition, first issue and a lovely item indeed.

      [Bookseller: John Atkinson Books]
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        The Chester Beatty Library a catalogue of the Turkish manuscripts and miniatures. ... With an introduction by the late J.V.S. Wilkinson. Dublin, Hodges Figgis & Co., 1958. Folio. With frontispiece and 42 numbered plates. Red cloth.

      Very detailed catalogue describing the Turkish manuscripts and miniatures in the Chester Beatty Library, a collection of manuscripts, printed works, and artefacts, predominantly Oriental, assembled by Alfred Chester Beatty and opened to the public in Dublin in 1954. Very good copy.

      [Bookseller: Antiquariaat FORUM BV]
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        A MIRROR FOR OBSERVERS

      Garden City: Doubleday & Company, Inc., 1954. First edition. A fine copy in a nearly fine dust jacket, some mild edge rubbing, small chip from head of spine panel. (14016). Octavo, boards. Winner of 1955 International Fantasy Award. "Martians in underground cities for thousands of years have manipulated Earth's historical development." - Anatomy of Wonder (1995) 3-141. Pringle: Science Fiction: The 100 Best Novels, #16.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Parabole de l'inconnue

      Cairo: Abud Fadil Press, 1954. Limited edition, one of 50 copies of 500 total. Decoration to title and prelims. [20] pp, printed in brown on "Registre Extra des Vosges" paper. Folio (351 x 247 mm). Recent black paper wrappers, with mounted printed panel from original front wrapper. Some tape repairs to blank inner margins, small faint splash stain to front wrapper. Limited edition, one of 50 copies of 500 total. Decoration to title and prelims. [20] pp, printed in brown on "Registre Extra des Vosges" paper. Folio (351 x 247 mm). Rare presentation copy from one of the "Cairo Poets" A very rare publication by a member of the Salamander Society, a collection of mostly English expatriate poets centered in Cairo during the Second World War. A presentation copy, inscribed "To A. Carvely / with every good wishes. / Raoul Parme. / Nov. 25th 1954." The so-called Cairo Poets active during the war years were comprised of two groups: the Personal Landscape group-led by Keith Douglass, Lawrence Durrell, Bernard Spencer, and Terrence Tiller, which maintained a distinctly literary bent-and the Salamander Society, which was founded by Keith Bullen and John Cromer and sought "to memorialize the soldier as amateur poet and oral historian" (Cambridge Companion to the Literature of World War II, p 17). Parme taught under Bullen at the Gezira Preparatory School, and had translated at least one of Bullen's poems into French for an issue of Oasis. The present work is exceedingly scarce: the only recorded institutional copy is at the American University in Cairo. This copy was inscribed by Parme to Andrew Carvely (1932-1997), a Middle-East specialist who would go on to form a significant T.E. Lawrence collection now at the John Hay Library, Brown University.

      [Bookseller: James Cummins Bookseller]
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        UNDER THE NET

      Chatto & Windus 1954 - Uncorrected proof copy. Original blue paper wrappers, printed in black. Ownership inscription of author Robert Henriques to half title. A near very good copy, with spotting to the upper cover and the hinges starting. The author's scarce first novel. There are three changes made to the text in this proof before the first edition. On page 29, a passage describing Dave Gellman's Goldhawk Road apartment reads: "I inspected the spare room with care. It looked out the other way and had a view of a dump of old motor tyres and the United Dairies. At any rate the hospital wasn't to be seen." In the first edition this was changed to "I inspected the spare room with care. It also looked out onto the wall of the hospital, which at this point seemed to stand even closer." There are further alterations made to the uncorrected proof text in the first edition on pages 155 and 284. Robert Henriques was a novelist and won the James Tait Black Prize for 1950. A contemporary of Murdoch, their correspondence is held at the University of Reading. [Attributes: First Edition; Soft Cover]

      [Bookseller: Jonkers Rare Books]
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        The Lord of the Rings [Comprising The Fellowship of the Ring/The Two Towers/The Return of the King - All first edition, first printings]

      George Allen and Unwin, 1954. Hardcover. Fine. A set of first edition, first printings published by George Allen and Unwin in 1954-5. All are fine copies (slightest trace of spotting to the second volume) in fine red morocco leather with raised bands and gilt lettering to the spine. Comes with a custom-made slip case. No inscriptions. A superb set indeed.

      [Bookseller: John Atkinson Books]
 26.   Check availability:     Biblio     Link/Print  


        [The Lord of the Rings:]

      London: George Allen and Unwin Ltd,, 1954-5. The Fellowship of the Ring; The Two Towers; The Return of the King. 3 volumes, octavo (215 x 135 mm). Recent red morocco binding by Bayntun-Riviere, titles and ring decoration to spines gilt in compartments, gilt frame to covers, turn-ins and edges gilt, marbled endpapers. Folding map at the end of each volume. Bookplate to front pastedowns. Negligible fading to spines, boards a little bowed; an excellent, bright set. First editions, first impressions. The Return of the King in the third variant of p. 49 (which Hammond misstates as the first), with sagging text and signature mark "4" present, and second variant of p. 281 with the gap in "Men." closed on the final line. All the variants within the first impression, and the priorities assigned to them, are of manufacture only; they would have been published simultaneously. The Lord of the Rings trilogy is one of the most influential literary works of the century. Its first reception was mixed: favourable and perceptive reviews from C. S. Lewis and from W. H. Auden, who had attended Tolkien's Oxford lectures, were countered by others who were hostile, sometimes bitterly so. But the trilogy went on to astonishing sales and forged a major change in public literary taste. "Heroic fantasy" has since become one of the most commercially successful literary genres, having a transforming impact upon the entertainment industry, from electronic games to cinema.

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


        Diesseits. Kleine Welt. Fabulierbuch.

      Suhrkamp, Berlin 1954.. Oktav. Org.-Ganzleinen mit Org.-SU. 987 (+3) S., Umschlag mit geringfügigen Gebrauchspuren, insgesamt aber sehr wohlerhaltenes Exemplar. [=Gesammelte Werke in Einzelausgaben].

      [Bookseller: Antiquariat Stefan Wulf]
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        Verve, vol. VIII, n° 29-30 : Vallauris, Suite de 180 dessins de Picasso, 28 novembre 1953 au 3 février 1954

      Paris: Editions de la Revue Verve, 1954. Livre. Illus. by Pablo Picasso. Très bon. Cartonnage Éditeur. Edition originale. Grand In-4. Paris, Editions de la Revue Verve, 1954. 36 x 27 cm, grand in-4, (16) pp. - (164) pp. de reproductions en noir - 16 lithographies en couleurs hors texte dont le titre et le frontispice, cartonnage illustré en couleurs de l'éditeur. Le plus beau et le plus important des numéros de Verve consacrés à Picasso. Couverture composée spécialement par Picasso, 16 belles lithographies en couleurs tirées par Mourlot et dessin reproduits par Draeger en héliogravure. Texte de Michel Leiris. Très bel exemplaire (infimes accrocs au cartonnage)..

      [Bookseller: Des livres autour (Julien Mannoni)]
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        The Lord of the Rings:] The Fellowship of the Ring; The Two Towers; The Return of the King.

      London: George Allen and Unwin Ltd, 1954-5 - 3 volumes, octavo (215 x 135 mm). Recent red morocco binding by Bayntun-Riviere, titles and ring decoration to spines gilt in compartments, gilt frame to covers, turn-ins and edges gilt, marbled endpapers. Bookplate to front pastedowns. Negligible fading to spines, boards a little bowed; an excellent, bright set. Folding map at the end of each volume. First editions, first impressions. The Return of the King in the third variant of p. 49 (which Hammond misstates as the first), with sagging text and signature mark "4" present, and second variant of p. 281 with the gap in "Men." closed on the final line. All the variants within the first impression, and the priorities assigned to them, are of manufacture only; they would have been published simultaneously. The Lord of the Rings trilogy is one of the most influential literary works of the century. Its first reception was mixed: favourable and perceptive reviews from C. S. Lewis and from W. H. Auden, who had attended Tolkien's Oxford lectures, were countered by others who were hostile, sometimes bitterly so. But the trilogy went on to astonishing sales and forged a major change in public literary taste. "Heroic fantasy" has since become one of the most commercially successful literary genres, having a transforming impact upon the entertainment industry, from electronic games to cinema. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        FOUR TYPED LETTERS SIGNED by the Hollywood Producer & Agent RAY STARK to the Novelist & Screenwriter BEN HECHT & his wife, regarding FILM PRODUCTIONS of HECHT'S "MIRACLE IN THE RAIN" & "IRON PETTICOAT".

      Beverly Hills, California, September 27, 1954 through January 14, 1955. [1954]., [1954].. Fine. - Four signed letters typed in green ink on Ray Stark's 10-5/8 inch high by 7-1/4 inch wide "Famous Artist's Corporation Agency" stationery, with the firm's logo embossed in green at the top of creamy white paper. In his first letter of approximately 90 words dated September 27, 1954, Ray Stark, acting as Ben Hecht's agent, writes to him about Frank Rosenberg's deal regarding "Miracle in the Rain". Stark pleads with Hecht to not "be a soft-hearted cuss and let him talk you into anything." He goes on to write that "Frankly, this looks like a lot of crap to me. If he is producing the picture, you should receive one-half, unless he wants to give up his claim to the $10,000." and closes by requesting that Hecht send him "a copy of the wire" in which Rosenberg claims to have told him of the details. Signed "Ray" in green ink.<p>In a retained carbon copy of his letter of the same date addressed to Frank Rosenberg, Stark sets the scene for what he clearly sees unfolding. He writes Rosenberg that "I am still rather confused about the exact details of the sale of Miracle in the Rain to Warner Brothers", and inquires as to whether this is a definite sale or contingent upon the selection of a director. He then goes on to question Rosenberg's deal with Warner: "It is difficult for me to understand how you can be under contract to Warner's as a producer, be assigned MIRACLE IN THE RAIN as your first picture, and yet, as you stated to me this morning, consider the producer deal separate." He then urges that Rosenberg have his agent acquaint him with the details.<p>In typed letter of over 140 words to Ben Hecht dated October 20, 1954, Ray Stark inquires about "the Saltzman thing", Harry Saltzman's first film based on Ben Hecht's script "Not for Money" which was contentiously released as "The Iron Petticoat" in 1956. Mentioning that other projects were still "on the fire", he mentions that "Kirk [Douglas] is really, really excited about the play and it would help very much if you could send him any portion of it that you are satisfied with... He has told me that if he liked the play, he would rather do it than any of the films which are on tap for the next several months...." Kirk Douglas had starred in the 1954 film "Ulysses", the script of which was co-written by Ben Hecht and subsequently co-produced and starred in the 1955 Western "The Indian Fighter" for which Ben Hecht wrote the screenplay from a story by Robert L. Richards. Here Stark is referring to Hecht's play "Not for Money" which was eventually released as "The Iron Petticoat" starring Bob Hope and Katharine Hepburn. Ray Stark concludes his letter to Hecht which he neglets to sign with a 14 word autograph note penned in blue ink "And please don't get involved privately with the play until you check with me".<p>A retained carbon copy of a letter to Ray Stark from MCA's Arthur L. Park, Jr. acknowledges receipt of Stark's letter and that he, Park, will advise him as soon as the contract for "Miracle in the Rain" is signed. He goes on to say that "Incidentally, Mr. Rosenberg has advised me that he discussed the Warner Bros. deal in detail with Mr. Hecht personally before accepting it and that Mr. Hecht had voiced his complete approval...."<p>In a 241 word Typed Letter Signed dated October 25, 1954, Ray Stark writes to Ben Hecht expressing his excitement at talking with him "this morning about the play." "I know how very rarely you are enthusiastic - at least this enthusiastic, about your projects, so I am really sitting on the edge of my chair waiting to read it." He further pens the following note at the end of this paragraph: "I hope you've sent act one". Going on to discuss other matters, he writes: "I am also so very happy that you like Saltzman. He is a tough business man and this is good. Also, I think he is a very honest guy - as well as a very good promoter. Once again, Ben, I just hope you don't sign any papers unless you send them through me...." Stark goes on to write extensively about the need to protect Hecht's interests in these deals and then, excitedly tells him that "There are still a number of assignments, including the Barrymore story, the Kirk Douglas Japanese story, and others, which I have been holding in abeyance for you...." Signed "Ray" in blue ink.<p>In a retained carbon copy of a letter written by Stark to Harry Saltzman on the same day, Stark writes that "I am very excited over the fact that you and Ben have formed a partnership on his new play. I would appreciate your sending me copies of any contracts which Ben may be requested to sign -- or, which he may have signed, since Ben in general is rather forgetful of these things. ... Also, as I told Ben, if Kirk Douglas likes the play there is a very good chance of a big investment on his part...."<p>Predictably, on January 14, 1955, Ray Stark has typed over 540 words on two pages, this time addressed to "Rosie" (Mrs. Ben Hecht): "I am answering your very sweet letter of January 9th. However, I have to admit that I have taken a day to simmer down. I can't tell you how angry I was when I read of this swindle that Mr. Rosenberg had pulled. ... Ben promised me that he would not deal with those guys, and as I told Ben, I would have been very happy to have the agency advance the money he needed against this contract. I just think it's a shame, and a ruthless hunk of chicanery, to have screwed Ben like this...." The paragraph which follows speaks volumes as to Ray Stark's character, waving the commission owed by the struggling Hechts: "It is very sweet, Rosie, that you mention the commission due me in reference to the Saltzman and other situations. However, forget about it. It's more important that you people get into some kind of a liquid position..." He goes on to mention Hecht's script "NOT FOR MONEY" and urges her to "persuade Ben to really keep me advised of all the various things that are happening. I have a couple of jobs possibilities for him when he is finishes with his present assignment...." Signed "Ray" in blue ink. In a post script, Stark states that he's enclosing a copy of a letter he will send to Frank Rosenberg, with two corrections in his hand and the addition of a brief note penned in ink requesting that she "First let me have Ben's okay".<p>The carbon copy of Stark's angry letter to Frank Rosenberg, dated January 14, 1954, is included. Stark angrily denounces Rosenberg's actions: "For a long, long time I thought that both Harold and yourself were two of the most ethical guys in this very unethical town. However, after the bit of chicanery that either you, or both Harold and yourself accomplished together in reference to the Ben Hecht situation, I can't help but tell you how very strongly I feel about this fancy bit of mis-dealing." He goes on to list the mis-deeds, the last being: "... the fact that you thought you had pulled a fast one at Warner's by having a separate producer contract, etc., should all add up to many sleepless nights for you, Frank...."<p>All four of Ray Stark's original letters are in very good condition, folded for mailing. The onion skin carbon copies are clear and legible but worn. <p>"Miracle in the Rain" was Ben Hecht's adaptation of his novella of the same name. The film is a World War II romance between a happy-go-lucky soldier played by Van Johnson and a lonely office worker played by Jane Wyman who meet on the streets of New York City during a downpour.<p>Ben Hecht's play "Not for Money", a British Cold War comedy was released as "The Iron Petticoat". The play was written by Ben Hecht from a story by Harry Saltzman, who produced the film. It was intended as a vehicle for Katherine Hepburn. Major stars such as Carey Grant, William Holden and James Stewart balked at playing second fiddle to Hepburn and the studio finally settled on reworking the film with Bob Hope as the leading man. Turning up in London at the last minute, Hope threatened to pull out unless the film was re-written to his liking, striking out many of Hepburn's scenes. The title was then changed and Hecht removed his name from the credits.<p>A man of many talents, Ben Hecht (1894-1864) was an American journalist, screenwriter, producer, director, playwright and novelist. The author of 35 books, he wrote screenplays for nearly 70 films. Among his most noted are "The Front Page", "Underworld", "Scarface", "Angels Over Broadway", "It's A Wonderful World", Hitchcock's "Spellbound" and "Notorious", etc.<p>One of the most successful independent Hollywood producers, Ray Otto Stark (1915-2004) was Ben Hecht's agent through his "Famous Artists Corporation". His early experience as a literary and theatrical agent set the stage for his successful career as the producer of some of the most dynamic film of the latter part of the twentieth century. Among the most memorable films that he produced are: "West Side Story", "The Misfits", "Lolita", "The Night of the Iguana", "Reflections in a Golden Eye", "Funny Girl", "The Goodbye Girl", "Annie", and "Steel Magnolias".

      [Bookseller: Blue Mountain Books & Manuscripts, Ltd.]
 31.   Check availability:     Biblio     Link/Print  


        Garden Spice and Wild Pot-Herbs

      Elfriede Abbe. Very Good with no dust jacket. 1954. Limited Edition. Hardcover. A numbered, hand printed first edition printed and illustrated by Elfriede Abbe. This copy is #68 of 90. The paper is handmade Japanese Kochi paper. The illustrations mostly wood block engravings, with two zinc plates. One large foldout. Oversized half green cloth with green paper boards. Minor edgewear and bumped corners. Text very clean, an erased name on a free end paper. A beautiful book. ; 11.90 x 8.55 x 1.75 inches; Elfriede Abbe enjoys a lifetime of artistic recognition and achievement. A graduate of Cornell University in 1940, Abbe has worked as sculptor, wood engraver and botanical illustrator, and has published numerous hand-printed books on a manual press that still takes up the better part of her home studio. Her wood engravings are in collections including the libraries of Cornell University, Yale University and Carnegie-Mellon University .

      [Bookseller: Range & River Books]
 32.   Check availability:     Biblio     Link/Print  


        Les Deux Modèles nus 18 mars 1954. Original-Lithographie.

      Paris. 1954 - Bildgrösse: 62x42 cm. Unter Passepartout. Unten rechts signiert "Picasso", links nummeriert 16/50. In schmalem Ralux-Glasrahmen. Unter dem Passepartout nummeriert. Das Blatt ist unter der Fläche des Passepartouts vergilbt. Literatur: Moulot 256, Bloch 762. [Attributes: Signed Copy]

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


        Textile Japan

      Textile Industry Research Institute, Tokyo 1954 - Original binding, a little soiled and with some abrasion. Very occasional offsetting to contents, otherwise fine. The 1954 issue of Tokyo periodical `Textile Japan`, published in English. Includes 88 tipped-in samples of various fabrics produced in Japan, from lace, cotton, denim and wool to nylon, rayon, silk, flax, and velveteen. Under each sample is noted the company who produced the fabric and the location of their factory. The book itself is ordered by district, with sections on Hokkaido, Tokyo and Yokohama, Tohoku and Hokuriku, Tokai, Kyoto, Osaka and Kobe, Kyushu, etc. With designs by Katsue Kitasono. Text in English. 88 p. First edition. [Attributes: First Edition; Soft Cover]

      [Bookseller: Kagerou Bunko (ABAJ, ILAB)]
 34.   Check availability:     AbeBooks     Link/Print  


        Bekenntnisse des Hochstaplers Felix Krull. Der Memoiren erster Teil. 1.-20. Tsd.

      Frankfurt, Fischer 1954 - . 8°. 442 S. Kopfgoldschnitt. Orig.-Leder. In Schuber mit Lederkanten. (Erste Ausgabe in der Stockholmer Gesamtausgabe). WG 130. Bürgin I, 99A. Nr. 402 von 500 Exemplaren der Vorzugsausgabe in Leder und im Impressum von Thomas Mann signiert. Zum 80. Geburtstag Manns erschienen. Sehr gutes Exemplar. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Fatzer ILAB]
 35.   Check availability:     ZVAB     Link/Print  


        GLI AVVENTUROSI SICILIANI

      EINAUDI, 1954. ITALIANO 0,18 N. 34 della collana diretta da Elio Vittorini, pagine leggermente ingiallite ai bordi causa tempo, brossura editoriale morbida, con alette e con lievissimi segni di usura da scaffalatura USATO

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


        EXPEDITION TO EARTH

      London: Sidgwick and Jackson, [1954].. Octavo, boards. First British edition. Signed on the front free endpaper by Clarke. Eleven early stories by this major author, most of them involving space travel and the far future, and written in a yearning, quasi-poetic style. Often they have little stings in the tail. Includes "The Sentinel" (1951), which later formed the basis of the novel and film 2001: A SPACE ODYSSEY (1968). Anatomy of Wonder (1987) 3-100. A fine copy in fine dust jacket. A sharp copy of a very scarce edition of this book which is rare signed by Clarke. (#152799)

      [Bookseller: L. W. Currey, Inc.]
 37.   Check availability:     Biblio     Link/Print  


        THE STAR BEAST

      New York: Charles Scribner's Sons, [1954]. First edition. Some spotting to top edge of text block, a fine copy in a nearly fine first state dust jacket ("$2.50" printed price not clipped or over printed), with a little rubbing to spine fold edges and very mild dust soiling, much less than usual for this title, a jacket that easily soils. An attractive copy. (14040). Octavo, illustrated by Clifford Geary, cloth.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
 38.   Check availability:     Biblio     Link/Print  

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