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Displayed below are some selected recent viaLibri matches for books published in 1956

        Belinda. Original-Lithographie.

      [Aschaffenburg ] 1956 - Schwarzweiß. Bildgröße 31 x 44 cm, Blattgröße 43 x 62 cm. Unter schlichtem Passepartout. Vogel 42. - Mit eigenhändiger Widmung "für Frau Hegewisch" (d.i. Erika Hegewisch, Ehefrau des langjährigen Sammlerfreundes Klaus Hegewisch), handschriftlich SIGNIERT und datiert sowie mit zusätzlichen Drucksignatur. - In nur kleiner Auflage erschienen, wohl aus der Aschaffenburger Lithographie-Werkstatt von Guido Dessauer, Buntpapierfabrikant und Kunstmäzen. Auf Vermittlung seines Lehrers Alfred Mahlau hatte Janssen von 1952 bis 1956 für Dessauer arbeiten können und in seinem Auftrag Gemälde, Keramiken und Farbholzschnitte geschaffen, vor allem aber sich die Technik der Lithographie angeeignet. - Straßenszene mit einer Frau und ihrem sich an der Leine aufbäumenden Hund, der sich anschickt, sich auf zwei junge Männer zu stürzen. - Oberes Drittel schwach knitterspurig [Attributes: Signed Copy]

      [Bookseller: Antiquariat Reinhold Pabel]
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        Damn Yankees

      New York: Random House, 1956. First Edition. Hardcover. Very Good. First edition. (Stated "First printing" on copyright page.) 164pp. Gray cloth with black and gilt stamping, mounted photo at front, orange top stain. Fine in Very Good+ dust jacket. Jacket spine panel darkened and a little scratched, faint scratch on back panel, price intact ($2.95). A lovely copy of the Broadway smash.

      [Bookseller: Burnside Rare Books]
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        Grabados Del Taller De Grafica Popular. 23 Grabados y Litografías De Cada Uno De los Componentes Del TGP.

      TGP, Mexico 1956 - 27.5cms x 21.5cms. Cubiertas originales en buen estado. Con 22 de los 23 grabados, faltando el grabado de Xavier Iñiguez. [Attributes: First Edition; Soft Cover]

      [Bookseller: Libreria Urbe]
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        \'Phaedra\' von Jean Racine. Regie: Ulrich Erfurth. Schwarz-weiß Fotografie (Szenenfoto) lose auf Karton befestigt.

      Hamburg, Deutsches Schauspielhaus, 20.12.1956. Leichte Läsuren an den Ecken des Bildes. Maße: ca 26x19 cm (HxB). Auf dem Karton sind Angaben zum Theaterstück mit Schreibmaschine vermerkt. Von Clausen auf dem Karton mit Bleistift signiert. Auf der Rückseite mit dem Stempel der Fotografin. Eine der gewohnt brillianten Aufnahmen von Clausen, mit beeindruckender Tiefe. Rosemarie Clausen war die berühmteste Theaterfotografin nach dem 2. Weltkrieg in Deutschland. Hervorstehend sind sicherlich ihre Arbeiten mit Gustaf Gründgens, Wolfgang Borchert. Famous german photographer, spezialised for theatre. Versand D: 5,00 EUR Fotografie, Photo, Theater, Theatre, signiert, signed

      [Bookseller: AS - Antiquariat Schröter]
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        Diamonds are Forever

      JONATHON CAPE, LONDON 1956 - Good binding, clean body and unmarked text. General shelf/edge wear, slightly cocked binding, rubbed cover, and fading spine. DATE PUBLISHED: 1956 EDITION: 257 [Attributes: Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Advise and Consent

      Doubleday & Company 1956 - First edition stated, first printing. Very Good, in a Very Good dust jacket, correct with price listed as $5.75 below a higher price blacked out. Heavy bump jacket and book at top of spine. The dust jacket shows internal tape repairs at corners and spine ends, light soiling and light edge wear. Stated first edition of this Pulitzer Prize winning novel. [Attributes: First Edition; Hard Cover]

      [Bookseller: Burnside Rare Books]
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        Black Reconstruction in America 1860-1880

      New York: S.A. Russell Company. (1956). First. First Harbor Scholars' Classics edition. Originally published in 1935. Corner bumped, some rubbing and few spots on the rear board, about near fine. Inscribed by DuBois to his brother-in-law William Graham, brother of his wife, Shirley Graham: "For Bill Xmas 1957. W.E.B. Du Bois." .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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      MONDADORI 1956 - ITALIANO Illustrazioni in nero fuori testo, pagine brunite causa tempo, copertina morbida illustrata, ingiallita e con strappi al dorso ed ai bordi

      [Bookseller: Biblioteca di Babele]
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        The Cotton Pickers

      London: Robert Hale, (1956). London: Robert Hale. (1956). First. First edition, preceding the American edition by 13 years. A little light foxing to the foredge else fine in a bright, near fine dustwrapper with some old internal paper repairs. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        The Concentration of Essential Personnel in American Cities

      RAND Corporation 1956 - ATOMIC BOMB. The Concentration of Essential Personnel in American Cities. Margaret Bright Rowan. The RAND Corporation, May 1956. 72pp. 11x8 inches. RARE. No copies located in WorldCat/OCLC $500 Perhaps nothing is obvious unless it is established or labeled so; perhaps the obviousness must be stated at least once before it can be officially, recognizably, the case. And perhaps the greater the obviousness is, the more the need to make it officially so. Perhaps nothing is so incredibly obvious that it can be studied and dissected and established. This seems to be more the case in more recent history than in time more further removed: that millions of dollars can be spent “proving” that children do not like to be separated from their mothers, or that cars will go faster downhill than up, or that people will respond to proper medication better than not, and so on, so on into the night, just seem not to need a vastly-funded proof. And so the case with nuclear warfare, people, and cities. In this RAND report from 1956, the great issue seems to be laid to rest, once and for all: the problem with nuclear weapons being exploded in/over cities is that since cities are filled with people, people will be killed. And if those people in the cities are there because of professions that depend on city-settings, then more of those people will be killed than not. Rand report But what this report was really about was the unfortunate aspect of the impact if nuclear warfare on leadership and working positions in significant and strategic industrial/business/government professions. And what the report finds is this: since the vast majority of these positions are located in cities (defined as 100,000 population and above), and since cities will be the major targets in a nuclear “exchange”, the overwhelming majority of these people will be killed, thus leading to strategic human resource vacancies post-war. It seems that 95% of aeronautical engineers in the U.S. would be killed in a nuclear war, which I guess would mean that it would be difficult to design new aircraft and such in the post apocalypse world. Of course these people would be killed because it was their industrial base that was being targeted and they were collateral damage, so there wouldn’t be any industrial base to produce the components necessary to build, say, a B-52. That part of the equation is not addressed here, though. Nor is there any sort of recommendation presented to fix the problem. The RAND document just painfully points out the obvious, once and for all; no one really knew what to do with the information now that it was there, in black and white. Certain people could be evacuated, saved from the maelstrom; but saved for what? There were other evacuation plans that were completely doomed from the beginning, sheltering plans, Dr. Strangelove arrangements, but all of that would come into their pitiful being later on. First, though, the bitter reality of what everyone already knew--one of the greatest of all obviousnesses–had to be make its appearance in print. And so it did. [Attributes: Soft Cover]

      [Bookseller: JF Ptak Science Books]
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        The Cotton Pickers

      London: Robert Hale. (1956). First. First edition, preceding the American edition by 13 years. A little light foxing to the foredge else fine in a bright, near fine dustwrapper with some old internal paper repairs. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Howl and other poems. The Pocket Poets Series: Number Four.

      San Francisco: The City Lights Pocket Bookshop, 1956 - Duodecimo. Original black and white wrappers, stapled as issued. Wrappers toned to edges with some light marks, small strip torn from head of rear cover, occasional spotting to contents. An excellent copy. First published edition, first printing, one of about 1,500 copies printed. This landmark collection defined the discontented voice of its epoch for a generation. It is Ginsberg's first regularly published book, preceded only by the privately produced mimeographed printing of the title poem, and the rather obscure Siesta in Xbalba. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        The Quare Fellow. A Comedy-Drama.

      London: Methuen & Co. Ltd, 1956 - Octavo. Original black boards, titles to spine gilt. With the dust jacket. Spine a little rolled but otherwise an excellent copy of the book, with the good jacket rubbed at the extremities and chipped to ends and corners. Portrait frontispiece. First edition, first impression, presentation copy inscribed by the author in Gaelic to Italian film actor and director Marcello Pagliero (1907-80), "Breandan o Beacain, do Marcello Pagliero, 8th Meireain, 1957", on the half-title. The connection between Behan and Pagliero, who is notable for his work with Roberto Rossellini (Pagliero had most notably starred in "Rome, Open City" in 1945), is an unexpected one. Perhaps Behan was attempting to secure interest for a film adaptation. Pagliero seems to have made no move in this direction, but evidently passed the copy on to fellow Paris-based screenwriter Jacqueline Sundstrom, whose ownership inscription appears on the front free endpaper. Sundstrom did, with Arthur Dreifuss, help to adapt the play for the 1962 film, which starred Patrick McGoohan. Sundstrom evidently developed some bond with Behan, as she is noted to have attended his funeral. Throughout the text are several pencil annotations marking Behan's obscure colloquialisms. The Quare Fellow is the author's first book and his key play, and is uncommon inscribed, especially with such compelling associations. Set in Mountjoy Prison, Dublin, it is also the origin of the song "The Auld Triangle", now a staple of Irish music, though most are unaware that it was composed by Behan for the play. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        SET OF OZ BOOKS. 14 Volumes

      Reilly & Lee, Chicago 1956 - Octavo. Offered is a near fine complete fourteen volume set of Oz books. The set includes the following; "The Wizard of Oz"; "Ozma of Oz"; "The Lost Princess of Oz"; "Glinda of Oz"; "The Tin Woodman of Oz"; "Tik-Tok of Oz"; "The Magic of Oz"; "The Land of Oz"; "The Patchwork Girl of Oz"; "The Emerald City of Oz"; "Rinkitink of Oz"; "The Scarecrow of Oz"; "The Road to Oz"; "Dorothy and the Wizard in Oz." All uniformly bound in white cloth and color pictorial covers. Illustrated by W. W. Denslow and John R. Neill. A bright, clean and colorful set. [Attributes: Hard Cover]

      [Bookseller: Charles Parkhurst Rare Books, Inc. ABAA]
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        NOTE AZZURRE. A cura di Dante Isella. “Opere di Carlo Dossi” - Volume I - Tomo I e II.

      Milano, s.e. (ma Ricciardi Editore - Tipografia Maestri), 1956. In-8 p., 2 tomi, cartoncino orig. bianco con sovracoperta muta in carta Ingres azzurra, cofanetto mod. in cartonato azzurro, pp. XXII,(2),448, 2 cc.b.; (8),906,(6) (numeraz. continua), a fogli sciolti; illustrato f.t. da 16 tavole in b.n. per lo più di ritratti (1 tav. riproduce il facsimile di una pagina dei quaderni delle “Note”). I due frontespizi, senza riferimenti editoriali, portano l'indicazione “Prove di stampa - Milano, dicembre 1956”. E' questo uno dei pochissimi esemplari dell'"edizione originale integrale" che Ricciardi aveva stampato nel 1955, avvalendosi della sapiente opera filologica di Dante Isella. A lavoro ultimato e con le copie pronte in tipografia, l'editore Ricciardi e Raffaele Mattioli, in un incontro con Franco Pisani (il figlio di Dossi), decisero di non procedere con l'edizione prevista in due serie: 1.000 esempl. nn. in carta comune e 150 su carta Maslianico (numer. 1-99 + I-XXIV e il resto nn. f.c.), per timore di possibili azioni legali da parte degli eredi di alcuni personaggi citati nell'opera. “Delle ca. 1.200 copie se ne sarebbero impaginate soltanto 138 (100 per me, 38 all'editore), da offrire graziosamente per uso riservatissimo agli studiosi”: così Franco Dossi in “Libero tra boschi e prati”, p. 206. Questi esemplari corrispondono alla serie di testa in carta pregiata dell'ediz. Ricciardi 1955, confezionata in due tomi, a fogli sciolti, con elegante brossura azzurra, e posti in cofanetto. Da questa tiratura venne però rimosso qualsiasi riferimento editoriale: vennero sostituite le pp. (V)-(X) del primo tomo con un nuovo fascicolo (il nuovo frontesp. porta la dicitura “Prove di stampa / Milano, Dicembre 1956” ed è assente la pagina con la “Dichiarazione dell'editore”) e così pure il frontesp. del secondo tomo (cfr. Isella - Reverdini “I libri di Carlo Dossi”, p. 117). La ns. copia - una delle 138 a fogli sciolti - porta, alla prima pagina bianca del tomo I°, una nota autografa del figlio dell'autore: “Queste prove di stampa / sono affidate alla discrezione / e quindi alla responsabilità / di Camillo Giussani / Franco Pisani Dossi”. “Carlo Alberto Pisani-Dossi (1849-1910) fu autore inattuale in vita, di fama crescente dopo morte, diventato ‘di culto' ai giorni nostri. Legato alla Scapigliatura lombarda ha prodotto una quindicina di opere, una più rara dell'altra nelle edizioni originali. La più curiosa tra queste è una raccolta di aforismi, racconti, aneddoti, letture, una sorta di diario privato che Dossi tenne per tutta la vita e lasciò sotto forma di sedici quaderni, con le copertine azzurre, da cui il nome "Note azzurre".” Così Moosbrugger “Le note bruciate di Dossi” (Wuz, 3, apr. 2002). Solo qualche fiorit. ai tagli esterni, altrimenti esemplare ben conservato.

      [Bookseller: Libreria Malavasi sas]
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        Portrait photograph of Carol Channing in GENTLEMEN PREFER BLONDES

      New York 1956 - The print used for reproduction in PORTRAITS (1978). Half-length frontal, in costume, pointing to her jewelry, and singing. 1 vols. 33.6 x 22.7 cm. (13-1/4 x 9 inches). From the estate of Saul Mauriber, Van Vechten's assistant and the compiler of PORTRAITS: THE PHOTOGRAPHY OF CARL VAN VECHTEN (1978) Verso with atelier stamp and ink notations, giving the name of the subject ("Carol Channing . singing Diamonds are a Girl's Best Friend"), date, the photographer's reference to negative and print ("viii - 00 - 10"), and with pencilled indication to the printer for reduction Half-length frontal, in costume, pointing to her jewelry, and singing. 1 vols. 33.6 x 22.7 cm. (13-1/4 x 9 inches) The print used for reproduction in PORTRAITS (1978).

      [Bookseller: James Cummins Bookseller, ABAA]
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      London: Hutchinson, 1956. First British Edition. First Impression. Octavo; brick red paper-covered boards, with titles stamped in gilt on spine; dustjacket; 192pp. Light foxing to endpapers, else Near Fine. Dustjacket is the second issue, both prices clipped, resulting in an uneven cut to bottom corner of the front flap; rear panel a bit soiled, shallow chipping at crown and upper corner tips, a tiny chip at the base of the front joint, and a larger one at the lower right corner; several edgetears with attendant creasing; Very Good only. Preceded only by the wrappered French First, the British Edition was the first in hardcover and the first to be translated into English. Basis for the 1958 film noir 'Vertigo,' directed by Alfred Hitchcock and starring James Stewart and Kim Novak. The Dark Page, Vol.2, p.10-11.

      [Bookseller: Captain Ahab's Rare Books]
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      California Emergency Defense Committee, Los Angeles, California 1956 - States ""First Printing, May, 1956." No. 710 of a Limited, Signed Edition of 750 copies, signed in red ink "Dalton Trumbo" immediately below the limitation. Trumbo -- a member of the "Hollywood 10" -- protests the "Smith Act" prosecutions of current or former officer of the Communist Party. A couple of the pages remain unopened; this 108-page, stapled pamphlet, despite being age-toned to edges, would probably grade "very good" save for the inch-and-a-half triangular dampstain to lower outside corner of the wraps (impinges no text to interior.) An important artifact of the "Red Scare" era. Trumbo signatures are sought-after. [Attributes: First Edition; Soft Cover]

      [Bookseller: Cat's Curiosities]
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        Damn Yankees: A New Musical

      Random House 1956 - First edition. 164 p. Gray cloth with black and gilt stamping, mounted photo at front, orange top stain. Fine in Near Fine dust jacket. Jacket spine panel darkened, price intact ($2.95). Includes a yellow card signed by co-writer and director George Abbott, as well as a card signed by Jean Stapleton, who played "Sister" in the original production, and an original 1956 playbill from Forty-Six Street Theatre where the play debuted. An attractive copy of the Broadway smash. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Burnside Rare Books]
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        My Lord what a Morning

      The Viking Press, New York 1956 - First edition. Illustrated. viii, 312pp. 8vo. Anderson's autobiograph, inscribed on the ffep: "To Ulric de Vaere with kind regards from Marian Anderson." Original half green cloth, in dust jacket [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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        Desmond O'Grady - "I will be here Forever". / Two original photographs by John Minihan, showing Desmond O'Grady at his future graveside in Kinsale, stating to John Minihan "John, i will be here forever". Wonderful and rare association archive from the library of irish Beckett-photographer John Minihan and irish poet Adam Wyeth.

      Original photograph by John Minihan on archival paper. Image: 25 cm 18 cm / Framed: 45,5 cm x 38,5 cm. From the library of irish photographer John Minihan. With John's copyright-stamp verso. Signed and titled by John Minihan verso. O'Grady, Desmond [Fellini, Federico]. Small, fantastic Archive of signed and inscribed books, audio-files of Desmond O'Grady reading (on CD) and an original, locally produced film portrait (on a small, limited numbers on DVD's only) and an inscribed 5-page essay by Desmond O'Grady on "Beckett in Paris" as well as two original photographs by John Minihan, showing Desmond O'Grady at his future graveside in Kinsale, stating to John Minihan "John, i will be here forever". Wonderful and rare association archive from the library of irish Beckett-photographer John Minihan and irish poet Adam Wyeth. [Includes the signed and inscribed copies of 1.The Road Taken (Poems 1956 - 1996) / 2. Hellas (1971) / 3. The Dark Edge of Europe - Poems (1967) / 4. His Scaldcrane's Nest (1979) / 5. The Headgear of the Tribe: Selected Poems (1979) / 6. Beckett in Paris (inscribed Essay-Offprint from the Journal of Beckett Studies (1993) / 7. The Wandering Celt - Audio - Spoken Word Reading (CD) / 8. Film "A Life in a Day of Desmond O'Grady" by Adam Wyeth / 9. Alexandrian Notebook (1989) / 10. My Fields This Springtime (1993) / 11. My Alexandrina - Poems and Prose (2006) Inscribed by Desmond O'Grady (Bibliotheca Alexandrina) / 12. Two original photographs of Desmond O'Grady by irish photographer John Minihan. Kinsale, 1967-2002. 8. 487, 14, 85, 51, 98, 5, 31, 14, 130 pages. / The photographs of Desmond O'Grady signed by John Minihan. Original Hardcover / Softcover editions with original dustjackets (if asked for). Very good condition with only minor signs of external wear. The CD covers broken and scratched. The photograph in excellent condition. Seamus Heaney said about Desmond O'Grady: "Desmond OGrady is one of the senior figures in Irish Literary life, exemplary in the way he has committed himself over the decades to the vocation of poetry and has lived selflessly for the art."

      [Bookseller: The Time Traveller's Bookshop]
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      Paris Éditions de la Revue Verve 1956 - Verve vol. VIII, nos. 33 et 34. In-folio; 11 Bll., farblithograph. Doppeltitel, 28 ganzseitige Lithographien (davon 16 farbig), 105 Lichtdruck-Taf.; farblithograph. OPp. (Kapitale minimal verfärbt, fliegende Vorsätze mit Klebebandspuren); sehr schönes Exemplar. Die französische Originalausgabe. Enthält Chagalls zwischen 1930 und 1955 entstandene Radierungen zum Alten Testament in ausgezeichneter Wiedergabe sowie eine Reihe von eigens für diese Publikation geschaffener Originallithographien. Mit einführenden Texten von Meyer Schapiro und Jean Wahl. - Beiliegt: Ausstellungsprospekt Galerie Gérald Cramer, Genève 1960. [Attributes: Hard Cover]

      [Bookseller: Wiener Antiquariat Ingo Nebehay GmbH]
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        POEMS North & South - A Cold Spring.

      Boston: Houghton Mifflin Company 1956 - Elizabeth Bishop’s 1956 Pulitzer Prize volume inscribed, with corrections in the text. POEMS NORTH & SOUTH – A COLD SPRING. Boston: Houghton Mifflin Company, (1956.) Near fine in a like, price-clipped, dust jacket. This is the second printing of Bishop’s second volume of poetry, which won the Pulitzer Prize in 1956. An interesting association copy because this copy had belonged to ‘Beat’ poet Ray Bremser. Both the front and rear end papers have a large diagonal purple ink APPROVED stamp. In addition, the front end paper has the ex-libris of poet Raymond Bremser whose work was included in the seminal 1960 Grove Press anthology, New American Poetry, edited by Donald Allen. Bremser’s ex-libris partially covers the APPROVED stamp on the front end paper (see scan). Bremser’s entry in the Biographical Notes section of New American Poetry begins: “Born Jersey City 1934, educated at Bordentown Reformatory.” Therein lies the tale of Elizabeth Bishop’s inscription on the title page: To _____ _______ – thank you for letting me see this interesting copy of POEMS – Elizabeth Bishop February, 1978. The present owner found this copy at a used bookshop in lower Manhattan and recalled that Ray Bremser had a criminal record as a juvenile and had been jailed several times, hence the APPROVED stamps by the authorities allowing him to keep the book while serving his Bordentown Reformatory sentence. The owner sent this copy to Bishop, with a note to that effect included, and received back, in turn, the book inscribed as above, and with two initialed ink corrections in the text. In addition, Bishop had added a short note (not included here) that mentioned, in part, “I think I’ve been much more interested in the “beats’ ” poetry than they would have been in mine”. According to the MacMahon bibliography, there were 2,000 copies of the 1955 first printing, and 750 more of the second in 1956, presumably because of extra sales due to the Pulitzer Prize. They differ only by the removal of the date “1955” from the title page of the second printing. The dust jackets are identical and both occurrences of the misprint in the title of the poem, “The Gentleman of Shalott”, that Elizabeth Bishop has hand-corrected in this copy of the book, were present in the first printing as well. [MacMahon A2a2] [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Cultured Oyster Books]
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        As nupcias do Ceu e do Inferno

      Editora Civilizacao Brasileira - Rio de Janeiro 1956 - Exemplar numero 113 destinada aos bibliofilos. Com ilustracoes do proprio Blake expressamente gravadas em fotolito e impresas por Jairo Sabak. Colecao Maldoror. Traducao de Oswaldino Marques. 55 paginas. 24,5x17 cm. [Attributes: Soft Cover]

      [Bookseller: El Incunable]
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        Holzschnitte im Neuen China. Woodcuts of New China, 1956

      Peking: Verlag fur Fremdsprachige Literatur, 1956 - First edition, first printing. Folio, 35.5*26.5cm, 6p, 40 plates. Portfolio slightly water stained, pages and plates crisp and clean. Text in German. [Attributes: First Edition; Hard Cover]

      [Bookseller: Chinese Art Books]
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        "Les Enfants de L'Artiste"

      Zurich: Maison Kratz, 1956. Erni, Hans. Lithographic print measuring 23 1/4 by 18 7/8 inches. One of 200 numbered copies, this one signed by the artist, with his name incorporated into a small drawing of a bull's head, and inscribed vertically, "For Martin Oberstein cordially 30 12 56." The lithograph is printed in five colors on a black background and shows two children sitting next to a wagon wheel. One child wears a blue sweater and holds a doll, while the other wears a black sweater over a yellow outfit. Hans Erni was an extremely prolific Swiss contemporary artist, who designed everything from postage stamps to wall murals, as well as sculptures, book illustrations, and more, right up until his death in 2015 at the age of 106. Erni admired Pablo Picasso and Georges Braque, and their influence can be seen in this depiction of Erni's children, including in the use of negative space on the black background and in the color palette. Lithographs by Erni come up for auction regularly, but this particular print has not appeared for several decades. Inscribed to Martin Oberstein, a professional calligrapher who worked for Tiffany's and taught calligraphy at a number of schools and workshops in New York. Print adhered to a card board and framed in a gilded wood frame, measuring 32 by 28 1/4 inches. (Cailler, Hans Erni catalogue raisonné, no. 173).

      [Bookseller: Bromer Booksellers ]
 26.   Check availability:     ABAA     Link/Print  

        A History of the English-Speaking Peoples

      London: Cassell, 1956-58.. FIRST EDITIONS. 4 volumes, octavo. Handsomely bound in dark green half morocco with gilt titles and decoration to spines, raised bands, matching cloth boards, top edges gilt. Internally clean, externally unmarked. A fine copy of this monumental multi-volume book. Published shortly after Sir Winston Churchill was awarded the Nobel Prize for Literature, this is the author's last great work, only available some twenty years after he wrote the first draft, which then lay dormant whilst he attended to National and Parliamentary matters. In his preface he remarks that the book 'slumbered peacefully, until 1956, 'when things had quietened down'. Reading reports of the last decade of his life, one is struck by the central interest his history represented in his final years, and how rapidly he sank into decline and depression after the final volume was published.

      [Bookseller: Adrian Harrington Rare Books]
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        Four Dialogues (spine label title)., Memory and her Nine Daughters/the Muses: a pretext for printing/cast into the mould of a dialogue in four chapters.

      (Lexington): Stamperia del Santuccio, (1956). - 7 3/4 x 11. 90 pages. Large metal cut by Hammer of Kolbsheim chapel in red; four metal cut initials in red & blue. A previous acidic dust wrapper has offset on to endpapers; fore edges tanned, otherwise contents clean. Buff boards, paper spine label, tips a bit bruised. Opus 13. No. 12 of 35 copies. Printed on Magnani paper in American Uncial in black & red. [Attributes: Hard Cover]

      [Bookseller: Veatchs Arts of the Book, ABAA]
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        Faulkner at Nagano

      Tokyo: Kenkyusha. (1956). First. First edition. Fine in fine dustwrapper. A series of interviews and lectures given by Faulkner on a trip to Japan. A beautiful copy. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        New Lines: An Anthology

      London: Macmillan & Co.. 1956. First. Uncorrected proof. Brown wrappers with applied paper label. Fine. Important anthology of poetry with contributions by Philip Larkin, Thom Gunn, Kingsley Amis, John Wain, and others. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        British Columbia Telephone Company (B.C. Tel./Telus) Telephone Talk: Bound Issues January/February 1955 Through November/December1956

      British Columbia Telephone Company, British Columbia 1956 - Half-leather binding. Telephone Talk was the glossy bimonthly publication of the British Columbia Telephone Company. It was written by employees for employees to present information of interest to those engaged in the plant, traffic, commercial, operating, accounting and other departments of the service. Each issue is replete with black and white photos and information on topics such as: company, industry and technological news, traffic levels, expansion plans, personnel announcements, publicity and social events, deaths, weddings, lists of exchanges, and more. As such, these issues serve as a vital preserve of rare and fascinating British Columbia history. This volume covers topics including: Good-bye to the Fairmont board in Vancouver - great photos including one with Miss Joan Ross; Map of radiotelephone chains; Fairmont Cutover Highlights; Merritt switchboard gutted - photo; Photo of a young Kenneth Dye - who went on to serve as Auditor-General of Canada from 1981-1991; Company Auto Equipment Staff; Photos of the expansion of Vancouver's underground telephone system; Many photos of Kamloops staff at work; New phone system for Vancouver's new Public Safety Building - photos; 1954 Annual Report Highlights; Record expansion this year; Outdoor phone booths popular; 15 years ago; Photos of Victoria's expansion program; Victoria Commercial Office modernized - photos; Photos of moving phone lines prior to dismantling the old Granville Street Bridge; New radiotelephone mast on Lulu Island - photos; New Engineering Section formed; Automatic Toll Board for Royal City; Conversion project for Vancouver's Dexter office; Photos of placing cable 70 feet above the Fraser River near Boston Bar; Photo of 'Jocko', the company chimpanzee; Sales Training; Campbell River First North-west Conversion to automatic operation; Oliver and Osoyoos approve free calling; Walter R. Jones retires; L.C. Patey passes away; path testing to begin for microwave system - article; photos of cable-laying between Ioco and Port Moody; microwave skyway - photos and text; photos of loss of part of the bridge at Mission; microwave path testing completed for B.C. - article with map; photo and article of 'electronic secretary' (hint: picture a big box with a record player in it!); List of Exchanges in B.C. and # of lines operating; photos of heavy gangs at work; access to microwave sites 'most difficult' (article); G.W.S. Montgomery passes away; photos of New West's Lakeview office; Engineering for TD-2 Microwave in B.C. - article with map; Photos of laying underwater cable near Nelson; 1955 - company's best year ever; James Hamilton and C.B. Diplock retire; Aerial tram to serve Dog Mountain site near Hope; Teletype now links Trans-Canada system; "They Take their telephone with them - great article and photos on the use of radiotelephones - early car phones!; groundwork laid for microwave in B.C.; R.A. Story ends 46 years career; Photos of cable-laying between Mayne Island and Swartz Bay; photos of blasting near Hedley; North-west acquires Peace River; PNE photos; Dog Mountain construction photos; photos of the Mid-Canada Line, which supplemented the DEW line; article and photo re: the new 'Speakerphone'; and more. Unmarked with moderate wear. Binding tight and square. Marbled endpapers. Name of E.P. LaBelle stamped on top and bottom edges of text - Mr. Labelle was a second-generation employee of the company. [Attributes: First Edition; Hard Cover]

      [Bookseller: RareNonFiction, IOBA]
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        Harley-Davidson Motorcycle contract signed by William Davidson, President of Harley-Davidson Motor Company. Perfect for the free road lover!

      Milwaukee, Wisconsin, October 26, 1956. 8.5" x 14". "Standard early dealer agreement contract between Harley-Davidson and Pennsylvania dealer ""Paul W. Haines, dba Haines Harley-Davidson Sales"". Dated October 26, 1956. On yellow paper, 8.5"" x 14"". Signed by William Davidson as ""Wm H Davidson"", as President for Harley-Davidson Motor Co. Expected folds with faint staining to verso, else fine condition. A great example of HOG memorabilia.A clean, crisp example of an original dealer contract between Harley-Davidson and a dealer doing business in ""Northumberland and Union counties in Pennsylvania"". Executed 10 years before the company merged with AMF. The contract contains the typical clauses concerning such examples in part as found below:1. Place of Business and sales Effort2. Use of Seller's Name3. Service and Parts4. Execution of Orders5. Price Change6. Inferior Parts and Oil7. Sub-dealers8. Termination9. Default10. AssignabilityOf additional interest is the importance of instilling strong brand and quality control, Harley-Davison also required that ""The Dealer agrees not to use in repairing or servicing ... Substitute functional part ... and agree to not sell, or offer to sell or use in repair of Sellers products as genuine Harley-Davidson parts or oil which are not in fact genuine Harley-Davidson parts or oil ...""Harley-Davidson is one of the few companies that has managed to survive and reinvent themselves during a massive 115 plus year run. Accomplished by trials and errors, altering the way they do business, surviving buy-outs, to mergers, to turn arounds, to even seeking governmental intervention from the Japanese dumping of product in 1983, and ultimately going public on the New York Stock Exchange in 1986, they have survived and thrived. They went from a product of excellence, to a product of mass production with cheap parts, and back again to a product of excellence, using a different inventory and part strategy. The morphing of this company has allowed them to endure bust and boom economic cycles, invasion of cheap imports, and near bankruptcy. The Harley brand is certainly it's own metaphorical example of riding a long hard road enduring much transition to ultimately finding a successful and competitive business strategy!This all-in near fine gorgeous dealer contract, signed by John Davidson is a great piece of HOG memorabilia for the free riding spirit. There are more Harley Davidson quotes than could probably fill an entire book, but below are a few that define the brand:""Live By It""""Therapy is Expensive, Wind is Cheap""""Don't Fear Dying, Fear Not Living""""Life is Not About Waiting for the Storms to Pass, it is about Riding in the Rain""""Traveling in a Car is like watching a Film, Riding a Motorbike is Like Staring in it""""First Learn the Rules, Then Break Them""""The Best Path Through Life is One on the Open Road""** An overview of the earlier days of the company's path leading up to the late 1990s and through the time it went public is shown below:The only motorcycle manufacturer in the United States, Harley-Davidson, Inc. has been designing heavyweight machines for bike enthusiasts for almost a century. The company is legendary for the great loyalty its vehicles have inspired in generations of cyclists.Early 20th-Century OriginsThe first Harley-Davidson motorcycle was built in Milwaukee, Wisconsin--still the location of the company's headquarters--in the early 1900s. The Davidson brothers--William, Walter, and Arthur--along with William S. Harley, designed and developed the bike and its three horsepower engine in their family shed. The machine went through many refinements until 1903, when the men established the Harley-Davidson Motor Company and produced three of their motorcycles for sale. Over the next several years both demand and production grew at a healthy rate, and by 1907 the company had begun to advertise.Two years later the company produced a new model featuring a V-twin engine that produced a low, deep rumble now identified as the signature Harley-Davidson sound. The revolutionary engine--still a company standard enabled riders to reach speeds of 60 miles per hour, which until that time had been believed impossible. Such capabilities served to set the company's motorcycles apart from the competition; by 1911 there were 150 other companies manufacturing the vehicles.Growth During and Following World War IThe onset of World War I was actually a boon for Harley-Davidson. The motorcycle, having done well in its utilization by police, was commissioned for use by the military. It proved especially useful on the U.S.-Mexico border, which was suffering incursions by the forces of Mexican revolutionary leader Pancho Villa. In all, 20,000 of the company's machines were employed by the U.S. infantry during the war.Henry Ford's introduction of the assembly line, on which he could quickly and inexpensively produce his Model T automobile, had a profound effect on the motorcycle industry. While motorcycles had traditionally been used by workers and businesspeople, the more affordable car became their vehicle of choice. The motorcycle, in the meantime, was gradually becoming a recreational vehicle.The Superbike Era: 1950s and 1960sAs the second generations of the founding families began moving into management positions at the company, Harley-Davidson found itself ""king of the road""--with the shutdown of Indian in 1953, the company became the sole American motorcycle manufacturer. Continuing to prove itself a design innovator, the company introduced its Sportster model in 1957, heralding the era of the all-powerful, throaty ""superbikes."" An entire subculture began to grow up around these motorcycles, and leather jackets and riding boots became as much a statement of one's desire for a life of freedom on the open road as a necessity for motorcycling. Unfortunately, the filmThe Wild One, starring Marlon Brando, depicted biker gangs riding Harley-Davidson motorcycles as packs of lawless renegades. The stereotype that grew out of this is one the company still actively strives to dispel.In 1965 Harley-Davidson went public when the two families decided to give up control and put the company's shares on the market. Four years later the company was bought by the American Machine and Foundry Co. (AMF), a leisure equipment manufacturer headed by Harley-Davidson fan Rodney C. Gott. The arrangement proved, at least initially, to be a good one for Harley-Davidson, for it was also in the 1960s that the company experienced its first competition since Indian went out of business. The financial resources and stability that AMF was able to provide helped the company battle Japanese motorcycle manufacturers, who had begun exporting their vehicles around the world, placing themselves in direct competition with Harley-Davidson.Problems and Corrective Measures: The 1970s and 1980sDemand for motorcycles continued to grow through the early 1970s, and, in an effort to keep up, the company opened an assembly plant in York, Pennsylvania, in 1974. While engines would still be made in the Milwaukee facilities, the bikes themselves would be assembled in the new plant. In 1975 AMF put Vaughn Beals at the head of Harley-Davidson, and Jeff Bleustein was named chief engineer. Bleustein was charged with making manufacturing improvements, which were becoming increasingly necessary as production grew.These efforts added an extra $1,000 in costs to each bike, however, and the profit line suffered as a result. To compensate, AMF management began to apply pressure for greater sales volume, with the result that quality began to suffer. The production standards that customers had come to count on were being lowered, and there were chronic shortages of parts, with the result that as many as 30 percent of the vehicles coming off the assembly line were incomplete. This, in turn, meant extra manpower searching for spare parts to finish outfitting the machines, a task that even fell to dealers on those occasions when incomplete bikes were accidentally shipped.Such problems took their toll on the company, especially in light of rising Japanese competition. In 1969 Harley-Davidson had enjoyed an 80 percent share of the U.S. motorcycle market for super heavyweight machines--bikes with engines over 850 cubic centimeters (cc). Ten years later, just when Honda Motor Co. was opening a plant in Marysville, Ohio, that share had dropped sharply to 20 percent. While there were still some riders who would settle for nothing but a Harley-Davidson motorcycle, newcomers to the motorcycle market were opting for Japanese affordability and dependability.To make matters worse, the 1981 recession severely threatened Harley-Davidson's share of the market for heavyweight bikes--motorcycles with engine capacities of 700-850 cc--nearly finishing the company off as a manufacturer. Soon AMF began to lose interest in keeping the struggling business afloat. To save the company, and to effect a turnaround, 13 Harley-Davidson executives, led by Vaughn Beals, put together a plan for a leveraged management buyout. With the financial support of Citicorp, the management team succeeded in taking control of Harley-Davidson from AMF on June 16, 1981, at a cost of $81.5 million.The group's turnaround strategy called for getting back on the quality track through new management and manufacturing techniques. Unable to beat them, Harley-Davidson instead decided to join their Japanese competition, adopting such management techniques as decentralized quality discussion groups and ""just-in-time"" inventory control. After the company's top management toured Honda's Marysville plant in 1981, Vaughn Beals noted in Fortune,""We were being wiped out by the Japanese because they were better managers. It wasn't robotics, or culture, or morning calisthenics and company songs--it was professional managers who understood their business and paid attention to detail."" In an effort to do likewise, management at the York plant developed three principles for change: worker involvement, manufacturing materials available as needed, and statistical operator control.One of the first steps Harley-Davidson took was to group the employees in a plant-wide network to ensure their input in improving the manufacturing process. The York plant management met with workers' representatives for months in 1981 to achieve a consensus on what was sought and also to ease skepticism. The increases in productivity stemming from these measures were deemed to be the effects of effective communication, shop floor enthusiasm, and increased recognition.The second point of the revitalization program involved managing the company's inventory. A program of just-in-time inventory control called MAN--Material As Needed--was developed, based on Toyota Motor Corporation's Toyota Production System. The plan called for the use of expanded communication in monitoring the flow of inventory. Harley-Davidson also introduced a statistical operator control system to improve quality control. The aim was to reduce defects and scrap by reworking machines right on the assembly line. The process began with the operators, who established parameters for quality using statistical methods. Then workers along the assembly line would chart actual quality and introduce improvements where warranted.During the early 1980s, the company began making cosmetic changes to its motorcycles, prompted by Vice-president William G. Davidson, grandson of the founder. Davidson, who felt it was important to remain close to the bike maker's customers and their needs, would often mingle with Harley devotees at gatherings, sporting his own beard, black leather, and jeans. As he explained in Fortune,""They really know what they want on their bikes, the kind of instrumentation, the style of bars, the cosmetics of the engine, the look of the exhaust pipes, and so on. Every little piece on a Harley is exposed, and it has to look right. A tube curve or the shape of a timing case can generate enthusiasm or be a turn-off. It's almost like being in the fashion business."" In addition to changing the look of established models, the company began to design new motorcycles to appeal to a broad range of consumers.Meanwhile, the competition was moving ahead. Though the recession of the early 1980s had depressed demand for heavyweight bikes, Japanese manufacturers swamped the U.S. market with their surplus inventory, driving average market prices down still further. In 1982, however, the company won an anti-dumping judgment from the International Trade Commission (ITC). This led then-U.S. President Ronald Reagan to impose additional tariffs on imported heavyweight Japanese models, as allowed by the ITC.The additional tariffs--45 percent on top of an existing 4.4 percent measure--were meant to decrease gradually over five years, until April 1988. These measures would give Harley-Davidson the opportunity to effect its revitalization plans. Predictably, as the company's market share began to increase, so, too, did its profits. Harley-Davidson had lost $25 million in 1982, but rebounded into the black again in 1983 before posting $2.9 million in profits on sales of $294 million in 1984. Though Japanese bike makers were able to elude some of the tariffs by building more machines in the United States, by 1986 Harley-Davidson's share of the U.S. super heavyweight market had crept back up to 33.3 percent, ahead of Honda for the first time since 1980.During this time, Harley-Davidson began placing more emphasis on its marketing efforts. In a 1983 public relations move, the company established the Harley Owners Group (HOG), a club with its own newsletter for fans of the motorcycle. By the end of the 1980s, membership in HOG had grown to 100,000 members. The company developed the SuperRide promotion, several years later; it was designed to attract large numbers of new buyers from an upscale niche. Television commercials invited people to visit one of Harley-Davidson's 600 dealers across the United States to test ride a new bike. Over 40,000 people took Harley-Davidson up on its offer. Though immediate sales did not cover the promotion's $3 million price tag, the effort did result in increased sales over the course of the next several years, and many of the new buyers were owners of rival Japanese models.Although Harley-Davidson was making great strides, the company suffered yet another blow in 1984. Citicorp--nervous that the economy was headed back into a recession, especially in light of the 1988 deadline on import tariffs--informed Harley-Davidson that in future years they would no longer provide overadvances--money over and above the conservative lending limits set as part of the company's business plan. Taking this as an indication that Citicorp wanted out of its arrangement with the company, Beals and Richard Teerlink, who was then the finance officer, began searching for another lender. Once word concerning Citicorp's plans got out, however, other banks showed little interest in making the commitment. By October 1985 Beals and his management team had contacted the investment firm Dean Witter Reynolds in order to begin Chapter 11 bankruptcy proceedings.Before those plans were finalized, Beals and Teerlink were approached by an interested lender. After weeks of hard bargaining, Heller Financial Corporation--whose second in command, Bob Koe, was a Harley buff--agreed to supply Harley-Davidson with $49 million to buy out Citicorp's stake in the business. Thus Citicorp was forced to take an $18 million write-down on its original investment. Heller Financial Corporation's faith in Harley-Davidson paid off handsomely. The company's market share began to climb steadily, and profits for 1986 topped $4.3 million on sales of $295 million. That year a revived Harley-Davidson went public, offering two million shares of stock worth $20 million and $70 million worth of unsecured subordinate notes that would mature in 1997."

      [Bookseller: University Archives]
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        GARASU NO KUCHIHIGE poeme interieur

      1956 - KITASONO Katue, poet. GARASU NO KUCHIHIGE poeme interieur. Tokyo, Kokubunsha, 1956, #77 of 280cc., White, paper-covered boards in printed dustwrapper. 18.4 x 15.3 cm. Near fine collection of Kitasono's poetry. Excerpts from this "GLASS MOUSTACHE" collection were examined eloquently by John Solt in his work on Kitasono: SHREDDING THE TAPESTRY OF MEANING. Near fine copy, quite unusual.

      [Bookseller: Boston Book Company, Inc. ABAA]
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        Entretien de Fernand Léger avec Blaise Cendrars et Louis Carré sur Le Paysage dans l'?uvre de Léger. -

      Louis Carré 1956 -, Paris - 1 volume. In-4. 67 pp. Sous couverture imprimée orange à rabats. Illustré de 6 compositions hors texte en couleurs par Fernand LEGER et de nombreux dessins en noirs. Très bel état. TIRAGE LIMITE à 750 exemplaires sur vélin d'Arches. Ouvrage édité à l'occasion de l'exposition "Le Paysage dans l'?uvre de Fernand Léger" à la galerie Louis Carré du 19 novembre au 31 décembre 1954, mais publié deux ans plus tard hors commerce. Carte de la Galerie jointe. OUVRAGE RARE, car paru deux ans après l'exposition elle-même, et jamais mis dans le commerce. Né le 4 février 1881 à Argentan, Fernand Léger travaille sur de nombreux supports à travers sa carrière, comme la peinture, le cinéma, l?illustration, la verrerie, la céramique et le design. Contemporain de Picasso et de Matisse, ami de Duchamp et de Cendrars, Léger est d?abord moderne par son appartenance à une époque riche d?innovations artistiques. Puis il célèbre la machine et la vie urbaine dans de nombreux tableaux. [Attributes: Soft Cover]

      [Bookseller: Librairie KOEGUI]
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