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


      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]
 1.   Check availability:     ZVAB     Link/Print  

        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 ]
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      (New York, Carnegie Hall), (1956). (1956). - (New York, Carnegie Hall), (1956). (1956). Fine. - sc - A 14 inch high by 11 inch wide photograph by Emmerich Gara depicting Leonard Bernstein in profile from the from the waist up. Attired in a white cotton shirt, hands raised high as he delicately shapes the music, the young Lenny tilts his head back in response to the sound. Photographed by Cellist Emmerich Gara during a recording session at Carnegie Hall, with his name & address stamped on the verso of the photograph. Signed by Gara in pencil on the verso. Fine. Emmerich Gara (b.1901, d.1963). Born in Vienna, Austria in 1901, Gara established lifelong careers as a portrait photographer and professional cellist. Before the outbreak of the Second World War he and his wife emigrated to the United States, where he was hired as cellist for the NBC Orchestra led by Arturo Toscanini. He performed with the orchestra (later called The Symphony of the Air) until his death.From his seat in the front row of the orchestra Gara was in the unique position to photograph all the great conductors and soloists who appeared with the orchestra during this extraordinary period of musical activity. His subjects were captured in performance, rehearsal, and in candid moments during recordings and while socializing.Gara's action portraits were used for record covers, for the Book of the Month Club and in articles in Time, Life and other major magazines around the world. [Attributes: Signed Copy]

      [Bookseller: Blue Mountain Books & Manuscripts, Ltd.]
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        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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        Damn Yankees a new musical (based on the novel The year the Yankees lost the pennant)

      New York: Random House, 1956. Hardcover. 164p., b&w photo of Gwen Verdon & Robert Shafer on title pages plus two more photos, production information, very good first edition first printing stated in boards with black panel and gilt title on spine, black and gilt devices on cover with photo of Verdon and Shafer affixed, in unclipped dj $2.95 price intact, very mild toning and edgewear, top edge stained orange. First edition first printing of an American classic. Ray Walston, Gwen Verdon and Jean Stapleton starred. Directed by Bob Fosse. Filmed with Walston and the complete Broadway cast except that Tab Hunter replaced Shafer. It pretty much swept the Tony Awards in 1956. A very nice copy of an important Broadway play.

      [Bookseller: Bolerium Books Inc., ABAA/ILAB ]
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        Faulkner at Nagano

      Kenkyusha, Tokyo 1956 - First edition. Fine in fine dustwrapper. A series of interviews and lectures given by Faulkner on a trip to Japan. A beautiful copy. See this book in 3D on our site. [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Diary of a Horse

      Thomas Yoseloff, New York 1956 - FIRST EDITION. Octavo. SIGNED BY THE AUTHOR (Marc Chagall) without inscription on the dedication page opposite the first full color plate. The signature is clean, distinct and in his characteristic pencil; also included is a signed letter of provenance stating the books origins with Dr. Martin Brottman, nephew of Marc Chagall. VERY GOOD in Very Good dust jacket protected in a removable mylar cover. The book itself shows very slight edge wear, an unobtrusive name on the front paste-down, otherwise the binding is strong and tight, the text and illustrations are clean and unmarked, and the boards remain bright and colorful. The dust jacket shows very minor edge wear, the occasional light handling mark, ever so slight toning of the spine, otherwise is not price-clipped remaining bright, colorful, and distinct. As pictured. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: North Books]
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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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        Les racines du ciel

      - Gallimard, Paris 1956, 14,5x21cm, broché. - Edizione posétieure quasi due mesi nell'edizione originale. autografo Firmato di Romain Gary Bodez Peter e sua moglie. Torna un po 'insolated, macchie teste piatti. - [FRENCH VERSION FOLLOWS] Edition posétieure de presque deux mois à l'édition originale. Envoi autographe signé de Romain Gary à Pierre Bodez et sa femme. Dos légèrement insolé, petites taches en têtes des plats, une pâle mouillure en têtes de tous derniers feuillets.

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

        PAUL LASZLO: Member of American Society of Industrial Designers

      (Beverly Hills, CA): Laszlo, Inc., [ca. 1956]. First edition. Pictorial Boards. Very Good. 4to. Glossy pictorial boards. No DJ, as issued. Very good or better. Some minor rubbing to boards, bump to top edge front cover. Faint sunning to edges. A number of pages loose, as common and as designed (see below). Else a sharp, bright and complete example of a fragile book. First edition of this promotional tool self-published by Laszlo to market his firm to high-end clients, while at the same time allowing some flexibility in its implementation. The design of the book's binding was such that individual pages could also be cleanly removed for individual (and smaller) client's particular needs. This led, however, to a book whose pages too-easily came apart from the binding, a decision Laszlo later came to regret. Includes designs and full-color photographs of numerous Laszlo projects including The McCulllough and Sunbeam Corps., the Mrs. Sam Genis and Mr. and Mrs. JK Ohrbach residences, The Brentwood Country Club, The Laurel Race Course, numerous examples of industrial designs (chairs, tables, etc.), as well as his iconic Laszlo (nuclear) Bomb Shelter. A lavish production from the quintessential Hollywood designer of the 1950's. Quite scarce.

      [Bookseller: Brian Cassidy, Bookseller]
 18.   Check availability:     IOBABooks     Link/Print  

        Zoo Quest to Guiana [with] Zoo Quest for a Dragon [with] Zoo Quest in Paraguay [with] Quest in Paradise [with] Zoo Quest to Madagascar [with] Quest under Capricorn. THE 'ZOO QUEST' SERIES COMPLETE IN DUSTWRAPPERS WITH SIGNATURE

      Lutterworth Press,, [1956-63]. 6 vols., 8vo., First Edition, with coloured frontispieces and very numerous coloured and monochrome plates throughout; original cloth (green/red/green/red/blue/green respectively), gilt backs, a very good, bright, clean set in dustwrapper (a few wrappers lightly chafed at headbands). SECOND VOLUME SIGNED BY THE AUTHOR ON CARD MOUNTED ON HALF-TITLE. A remarkably bright, fresh set in the original colourful wrappers of Attenborough's earliest books, recording his 'Zoo Quest' animal-foraging expeditions in many different territories. Well-illustrated and delightfully written, these early titles display much of the talent and infectious charm that has since made their author a naturalist, broadcaster and presenter of world renown. The series captures well the appeal of his first-ever television series 'Zoo Quest' that ran on the BBC from 1954-1964. It also gave rise, incidentally (in those far-off pre-computer days), to a highly popular board game! The sequence comprises 'Zoo Quest to Guiana' (1956), 'Zoo Quest for a Dragon' (1957), 'Zoo Quest to Paraguay' (1959), 'Quest in Paradise' (1960), 'Zoo Quest to Madagascar' (1961) and 'Quest under Capricorn' (1963). Two omnibus volumes of extracts were published for a new generation of readers in the 1980s. COMPLETE SETS IN THIS CONDITION ARE SELDOM OFFERED FOR SALE.

      [Bookseller: Island Books]
 19.   Check availability:     Biblio     Link/Print  

        SEARCHERS, THE (1956)

      Warner Brothers 1956 - Vintage original 22 x 28" (55 x 70 cm.) half sheet poster, USA. John Wayne, Jeffrey Hunter, Vera Miles Natalie Wood, Ward Bond; dir: John Ford; Warner Brothers. One of the greatest of all film Westerns, by the master John Ford. Returning from the Civil War, Ethan returns to the Texas ranch of his brother, hoping to be near his family and the woman he loves. When he discovers that Comanches raided the homestead while he was away, he and his nephew set off to find the niece they kidnapped as a young girl. As Ethan Edwards, John Wayne gave what is most likely his finest film performance. It would be Wayne's favorite role and he would name a son after the character. Portions of the film were made in Monument Valley, Utah. This was one of the first films ever to promote itself by having a documentary made during filming. Poster has been sized and cleaned and paper-backed with holes along the margins and corners filled in. It looks impeccable. VERY GOOD-FINE.

      [Bookseller: Walter Reuben, Inc.]
 20.   Check availability:     AbeBooks     Link/Print  

        Mystery Tales #40 LOST tv show issue-DITKO-1956- Atlas Horror

      Atlas 1956 - MYSTERY TALES #40. Atlas/Marvel Comics, 1956. Comic used prominently in a scene of the popular ABC-TV program "Lost." First Atlas art by Steve Ditko! ABOUT MYSTERY TALES #40: Though there are many great issus of this Atlas/Marvel title, Mystery Tales #40 stands out for two key reasons: (1) It's the first work done at Atlas by legendary comic-book artist Steve Ditko (alongside Journey Into Mystery #33), who soon became instrumental in the creation and development of Spider-Man and other key Marvel superheroes. And (2), Mystery Tales #40 gained a special mystique when it was featured prominently in a scene of the acclaimed TV drama "Lost." HOW MYSTERY TALES #40 WAS USED IN "LOST": Mystery Tales #40 appears in "Lost" Season Four, Episode #11, which is titled “Cabin Fever” and originally ran May 8, 2008 on ABC-TV. Since then it has become highly sought-after by "Lost" fans, regularly selling for multiples of guide value. The scene where Mystery Tales #40 appears involves a flashback: Richard Alpert visits a 5-year-old John Locke in the year 1961, showing up at his house under the pretense that he's seeking a gifted child to attend a special school. Alpert first must conduct a test (referred to as "the Dali Lama test") to find out if Locke is ready, so he places six objects on a table and asks Locke to choose one of them. The objects include a baseball glove, a knife, a leather-bound "Book of Laws," a compass, a container of sand, and Mystery Tales #40. Locke chooses the knife, and Alpert realizes Locke is not ready (perhaps an indication of Locke's fitness as a future caretaker of the island), and abruptly exits the room. HOW THE MYSTERY TALES #40 STORIES TIE IN WITH "LOST" MEANINGS: "Lost" fans have pored over Mystery Tales #40 and found numerous parallels between the comic's stories and the plotlines and themes of "Lost." (Soon after the comic appeared on the show, several ardent fans published a blog about their quest to track down a copy of Mystery Tales #40 and hopefully unravel clues to the TV show's mystery.) To begin with, the cover art depicts a distressed-looking man sitting in an airplane and looking at the window at a hidden city -- or as the text says, "The Hidden Land!" This scenario pretty much sums up the entire "Lost" premise of people on an airplane ending up in a mystery location. Not only does the title story echo "Lost," but so do each subsequent story. It's almost as if the show's creators, J.J. Abrams and Damon Lindelof, had used Mystery Tales #40 as part of their "Lost" bible when conceiving the storyline. Such stories as "The Warning Voice," "The Crossroads of Destiny," and "March has 32 Days" involve time travel, recurring incidents at airports, parallel realities and other science-fiction concepts that define the "Lost" mythos. ("March Has 32 Days" was specifically referenced in the Lost ARG Dharma Initiative Recruiting Project.) Even the story about the statue seems to echo the giant foot statue seen at a remote beach location of the "Lost" island. Condition is VG-, small tear at middle top cover. Staple pulls but cover is attached at both staples. Complete, no restoration. Condition: VG-

      [Bookseller: DTA Collectibles]
 21.   Check availability:     AbeBooks     Link/Print  

        Thirteen poems

      Gehenna Press, Northampton, MA 1956 - Edition limited to 400 copies, this being one of 365 (copy no. 156) in morocco-backed green paper-covered boards, without the extra signed proof of the portrait of Owen; folio, pp. [37]; printed in red and black throughout; frontispiece is a portrait of Wilfred Owen drawn by Shahn and printed from a block by Leonard Baskin; text with 15 lithographs after original illustrations by Shahn; spine bands a touch rubbed, else fine in a worn and partially split publisher's box. This is the first appearance of these anti-war poems in America. The Artist and the Book, 284. Franklin, Gehenna, 8. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
 22.   Check availability:     AbeBooks     Link/Print  

        THIRTEEN POEMS BY WILFRED OWEN: With Drawings by Ben Shahn. Printed at the Gehenna Press in Northampton, Mass, 1956

      Gehenna Press, Northampton MA 1956 - Hardcover. Illustrated by Ben Shahn with a portrait of Owens, wood engraved by Leonard Baskin from a drawing by Shahn. Rubricated text throughout. Slim 4to, brown calf-backed green boards. Northampton, Massachusetts: Gehenna Press, 1956. First Edition. A very good copy in a very good slipcase. Number 104 of 400 copies. None [Attributes: First Edition; Hard Cover]

      [Bookseller: Monroe Street Books]
 23.   Check availability:     AbeBooks     Link/Print  


      - Editions Germaine Raoult, Paris 1956, 23x28cm, en feuilles sous couverture, chemise et étui. - Prima disegnare illustrazioni di Paul-Emile Bécat pubblicate 390 copie su carta velina Rives (n ° 293) è illustrato .L'ouvrage divisori interni neri Paul-Emile Bécat.Très bella copia. - [FRENCH VERSION FOLLOWS] Premier tirage des illustrations de Paul-Emile Bécat paru à 390 exemplaires sur papier vélin de Rives (n°293). L'ouvrage est illustré de pointes sèches hors-texte en noir de Paul-Emile Bécat. Très bel exemplaire.

      [Bookseller: Librairie Feu Follet]
 24.   Check availability:     Link/Print  

        Virgil Finlay, Signed Original Art Work for Other Worlds Science Fiction Digest April 1956 ( SF Artwork/ Cover Illustration )

      USA: USA: Virgil Finlay Artwork ( 1955 / 1956 ) for Other Worlds SF Magazine, April 1956, 1st Edition -original Art, 1956. -----------original art for the cover of the April 1956 issue of Other Worlds SF digest, this is a preliminary piece but looks quite nice, signed very nicely and clearly by Virgil Finlay with his tailing "y", on a heavy board which measures about 7.5w x 10h inches with the image being about 5.25w x 7.75h inches, a very nice piece overall with lovely nude GGA and bubble helmeted spaceman / explorer, the accompanying images shows the final cover for the 4/56 issue but this listing does not include a copy of the original SG digest magazine ( signed artwork only ), , any image directly beside this listing is the actual book and not a generic photo... Signed. First Edition. Original Art. Very Good+ ( see Description ). Illus. by Virgil Finlay.

      [Bookseller: Leonard Shoup ]
 25.   Check availability:     Biblio     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. Woods A138(a). Langworth 315.

      [Bookseller: Adrian Harrington]
 26.   Check availability:     Direct From Seller     Link/Print  

        Giovanni’s Room.

      New York: The Dial Press, 1956. First edition of this landmark novel. Octavo, original half cloth. Fine in a near fine dust jacket with light wear to the extremities. Signed by James Baldwin on the half title page. Set in the 1950s Paris of American expatriates, liaisons, and violence, a young man finds himself caught between desire and conventional morality. With a sharp, probing imagination, James Baldwin's now-classic narrative delves into the mystery of loving and creates a moving, highly controversial story of death and passion that reveals the unspoken complexities of the human heart. "If Van Gogh was our 19th-century artist-saint, James Baldwin is our 20th-century one" (Michael Ondaatje).

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

        GEORGES BRAQUE Derriere Le Miroir No.85-86; 4 Lithographs

       GEORGES BRAQUE, Derriere Le Miroir No. 85-86; Georges Braque Maeght Editeur 1956 - Paris: Maeght, 1956. 20 pages including covers In French Loose wraps with original color lithograph on front and back of Braque's illustration. Four total original color lithographs by Georges Braque; front cover, one double-page, two full page. Includes one double page b/w reproduction of photograph of Braque at work on the very lithograph featured on the double-page litho, portraying a bird and still life with table, a nest, and eggs. Condition: Some wear, staining and soiling to cover. Tracks of use: finger prints, some light stains Lithographs minimum stained to corners.

      [Bookseller: judaica-market]
 28.   Check availability:     Direct From Seller     Link/Print  

        Bronze Culture of Ancient China An Archaeological Study of Bronze Objects from Northern Honan, dating from about 1400 B.C. - 771 B.C. Limited edition of 500 copies only. This copy signed by the author.

      Toronto: University of Toronto Press, 1956 - Royal Ontario Museum Studies Number Five. First edition #28 of an edition limited to five hundred copies, imperial 8vo (11¼ x 8¼), pp. xviii, 220, 100 plates, figures, map, indexes. Original gilt lettered & gilt decorated green cloth in original color pictorial dust jacket. Very good+ clean copy in a very good dust jacket. Sheets & plates clean, unmarked, complete. H6193 [Attributes: First Edition; Hard Cover]

      [Bookseller: J & J House Booksellers, ABAA]
 29.   Check availability:     AbeBooks     Link/Print  


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