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Edité par Bloomsbury, London, 1997
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First edition, first printing of the rarest book in the Harry Potter series, a cornerstone of young adult literature, and one of the best-selling books of all time. First printing with "First published in Great Britain in 1997", the full number line "10 9 8 7 6 5 4 3 2 1", "Joanne Rowling" for "J.K. Rowling", and "Thomas Taylor1997" (lacking the space) on the copyright page and "1 wand" listed twice (as the first item and last item) on the "Other Equipment" list on page 53. Octavo, original laminated pictorial boards, without a dust jacket as issued. Association copy, inscribed by the author on the dedication page, "to Bryony - who is the most important person I've ever met in a signing queue & the first person ever to see merit in Harry Potter. With huge [underlined 4 times] thanks. J.K. Rowling." Additionally signed and with a large original drawing by cover illustrator Thomas Taylor. The recipient, Bryony Evens was one of the first people to read the opening chapters of Harry Potter and the Philosopher's Stone, the first to recognize the workâ s inherent value, and perhaps the most instrumental figure in getting the book published. Working at the time at Christopher Little Literary Agency in Scotland, Evens was the first point of contact in receiving and sorting unsolicited manuscripts. Evens read Rowlingâ s submission of the first three chapters of the book and passed it along to Little, who approved that she obtain the full manuscript and promote it to suitable publishers. Given a small budget, Evens was only able to print three manuscripts to pitch to publishing houses and, after twelve months and twelve rejections, was finally given the green light by editor Barry Cunningham from Bloomsbury in London. Bloomsbury published the book on June 26, 1997. A year later, Bryony attended a Harry Potter book signing event where Rowling received her with open arms and warmly inscribed the present volume. Rowling was working as a researcher and bilingual secretary for Amnesty International in 1990 when she conceived the idea for the Harry Potter series while on a delayed train from Manchester to London. The seven-year period that followed saw the death of her mother, birth of her first child, divorce from her first husband, and relative poverty. A true "rags to riches" story, the publication of the present volume would bring her from living on benefits to billionaire status. She was named the world's first billionaire author by Forbes in 2014 and the Harry Potter series has become the best-selling book series of all time. In near fine condition with a touch of rubbing to the extremities. At the time of the bookâ s publication in 1996, illustrator Thomas Taylor had just graduated from art school and was working at Heffers Childrenâ s Bookshop in Cambridge. At Heffers, Taylor educated himself on the childrenâ s book market and its major publishers and decided to submit a portfolio of his illustrations to the offices of Bloomsbury Publishing, including several drawings of dragons and wizards. Taylor heard back from Bloomsburyâ s editor, Barry Cunningham (who had recently decided to take a chance on publishing Harry Potter and the Philosopherâ s Stone after it had been rejected by twelve other publishers) almost immediately. Cunningham phoned him at Heffers and asked if he could create a design for the cover of a relatively unknown authorâ s first book about a schoolboy wizard. He sent Taylor an incomplete manuscript of the book and, after two days, Taylor had a final product: a watercolor painting of a young Harry Potter with his lightning-bolt scar standing next to the Hogwarts Express on Platform Nine and Three-Quarters. Only 500 copies of the first printing were published, 300 of which were distributed directly to libraries. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An exceptional association and effusive inscription to the person who first recognized the value of Harry Potter. The first novel in the Harry Potter series and Rowling's debut novel, Harry Potter and the Philosopher's Stone follows Harry Potter, a young wizard who discovers his magical heritage on his eleventh birthday when he receives a letter of acceptance to Hogwarts School of Witchcraft and Wizardry. The book was first published in the United Kingdom on June 26, 1997 by Bloomsbury and in the United States the following year by Scholastic Corporation under the title Harry Potter and the Sorcerer's Stone. The book reached the top of the New York Times list of best-selling fiction in August 1999 and stayed near the top of that list for much of 1999 and 2000. It has sold in excess of 120 million copies, making it one of the best-selling books of all time. The majority of reviews of the popular book were favorable, revering Rowling's imagination, humor, simple, direct style and clever plot construction. Rowling's style has been compared to that of Jane Austen (her favorite author), Roald Dahl (whose works dominated children's stories before the appearance of Harry Potter), and even the Ancient Greek story-teller Homer. The first book in the series was followed by six sequels published on an annual basis between 1997 and 2000. The series has sold more that 500 million copies worldwide and has been â translated into 80 languages, â making it the best-selling book series in history and among history's most translated literary works.â The last four books in the series consecutively set records as the fastest-selling books of all time, where the final installment, Harry Potter and the Deathly Hallows, sold roughly fifteen million copies worldwide within twenty-four hours of its release. With twelve million books printed in the first U.S. run, it also holds the record for the highest initial print run for any book in history. Harry Potter and the Philosopher's Stone was adapted into the 2001 fantasy film of the same name directed by Chris Columbus, distributed by Warner Bros. Pictures, and s.
Edité par Routledge & Sons, London, 1944
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First edition of one of the most influential and popular expositions of classical liberalism ever published. Octavo, original black cloth. Association copy, inscribed by the author on the front free endpaper, "To Dr Karl Popper a fellow struggler for freedom with friendly greetings from F.H. Hayek." Also included is a letter signed by Karl Popper to his assistant Melitta Mew, presenting her with this book as a birthday gift (".It is the copy he sent me to New Zealand on publication of the book, with a beautiful dedication. And thank you for everything you are doing for my work (and me). Karl"), on his stationery of 136 Welcomes Road, Kenley, Surrey, and dated 23 January 1994. While this book was very special to Popper, he had been diagnosed with cancer and passed away from complications in September. Ms. Mew helped to put together Popper's lectures and essays in a book, which was published in 1996: "In search of a better world : lectures and essays from thirty years." Easily the best association copy in existence, as the lives of both of these great economists, Fredrich von Hayek (1899-1992) and Karl Popper (1902-1994) greatly impacted the other and their lives were intertwined. They both experienced the destruction of their Bourgeois Viennese families' savings by hyperinflation due to the fragility of the liberal society. While both men studied at the University of Vienna, they first met in London in 1935. Hayek was at that time employed at the London School of Economics and Popper was in the city on a visiting lectureship. While Popper accepted a position in New Zealand, where he was to remain until after World War II, he would also later assume a chair at the LSE, due to Hayek's influence there. Near fine in a good dust jacket. The British edition (which this example is) was published in March of 1944, preceding its American counterpart, which was published later that same year in September. Housed in a custom half morocco clamshell box. "Hayek has written one of the most important books of our generation. It restates for our time the issue between liberty and authority with the power and rigor of reasoning that John Stuart Mill stated in his great essay, On Liberty " (Hazlitt, 82). Its arguments against economic control by the government inspired many politicians and economists. John Maynard Keynes has been quoted as saying, "[I]n my opinion it is a grand book. . . . Morally and philosophically I find myself in agreement with virtually the whole of it: and not only in agreement with it, but in deeply moved agreement." While the Road To Serfdom placed fourth on the list of the 100 best non-fiction books of the twentieth century by National Review magazine, it was not as popular at the time of its writing, and Karl Popper was one of Hayek's few intellectual allies. He shared many of Hayek's views and Hayek even read the manuscript of Popper's own work, The Open Society and Its Enemies, prior to his publication of this book.
Edité par Charles Scribner's Sons, 1935
Edition originale Signé
Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. First Edition. ONE OF THE MOST IMPORTANT HEMINGWAY PRESENTATION COPIES EVER OFFERED FOR SALE: Inscribed by Ernest Hemingway to Hadley Hemingway and his son Jack (Bumby), on the dedication page, as Hemingway expands the printed dedication ('To Philip, to Charles, and to Sully') . Hemingway's continuing inscription, entirely in his hand in black ink, reads: 'also to Hadley and Paul and to Bumby with much love from Pauline, Ernest, Patrick. and Gregory, and all of Africa. The lion enclosed under separate cover is the same lion Pauline almost shot on page 40.' To our knowledge, this is the only presentation copy from Ernest to Hadley ever to come on the market. First edition, first printing of this classic Hemingway. Original black cloth stamped in gilt, in original jacket (jacket has a large chip to 'T' in title on spine extending to rear cover, with some other nicks and tears and tape repairs to verso; book has some minor fading in spots and light edge wear). Hanneman A10A (Scribner's seal and 'A' on title page verso; jacket complete with $3.50 price). Color frontispiece by Juan Gris; 81 b/w 'action photographs' on plates. 1 color & 81 b/w Illustrations. Hadley Richardson Hemingway, later Hadley Mowrer (1891-1979), first wife of Ernest Hemingway. As Hemingway later said, Hadley was Ernest Hemingway's greatest and truest love, the woman he betrayed to his everlasting regret. The subject of the recent 'The Paris Wife', she is a figure of enduring public interest. She married a second time, to Pulitzer Prize-winning journalist Paul Mowrer in 1933, two years before this work was published. We have firm provenance for this book. The true first printing of the first edition in original jacket (green cloth binding has usual fading to spine and edges; minor wear; jacket has fading, nicks and wear from use). Hanneman A13A; with 'A' and Scribner's seal on title page verso. Decorations by Edward Shenton. [8],294,[1] pages.
Edité par Bloomsbury, London, 1997
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First edition, first printing of the rarest book in the Harry Potter series, a cornerstone of young adult literature, and one of the best-selling books of all time. First printing with â First published in Great Britain in 1997â , the full number line â 10 9 8 7 6 5 4 3 2 1â , â Joanne Rowlingâ for â J.K. Rowlingâ , and â Thomas Taylor1997â (lacking the space) on the copyright page and â 1 wandâ listed twice (as the first item and last item) on the â Other Equipmentâ list on page 53. Octavo, original illustrated boards, without a dust jacket as issued. In fine condition. With an original illustration by cover artist Thomas Taylor of Harry Potter on the dedication page. At the time of the bookâ s publication in 1996, illustrator Thomas Taylor had just graduated from art school and was working at Heffers Childrenâ s Bookshop in Cambridge. At Heffers, Taylor educated himself on the childrenâ s book market and its major publishers and decided to submit a portfolio of his illustrations to the offices of Bloomsbury Publishing, including several drawings of dragons and wizards. Taylor heard back from Bloomsburyâ s editor, Barry Cunningham (who had recently decided to take a chance on publishing Harry Potter and the Philosopherâ s Stone after it had been rejected by twelve other publishers) almost immediately. Cunningham phoned him at Heffers and asked if he could create a design for the cover of a relatively unknown authorâ s first book about a schoolboy wizard. He sent Taylor an incomplete manuscript of the book and, after two days, Taylor had a final product: a watercolor painting of a young Harry Potter with his lightning-bolt scar standing next to the Hogwarts Express on Platform Nine and Three-Quarters. Only 500 copies of the first printing were published, 300 of which were distributed directly to libraries. An exceptional example, easily one of the nicest examples extant. The first novel in the Harry Potter series and Rowling's debut novel, Harry Potter and the Philosopher's Stone follows Harry Potter, a young wizard who discovers his magical heritage on his eleventh birthday when he receives a letter of acceptance to Hogwarts School of Witchcraft and Wizardry. The book was first published in the United Kingdom on June 26, 1997 by Bloomsbury and in the United States the following year by Scholastic Corporation under the title Harry Potter and the Sorcerer's Stone. The book reached the top of the New York Times list of best-selling fiction in August 1999 and stayed near the top of that list for much of 1999 and 2000. It has sold in excess of 120 million copies, making it one of the best-selling books of all time. The majority of reviews of the popular book were favorable, revering Rowling's imagination, humor, simple, direct style and clever plot construction. Rowling's style has been compared to that of Jane Austen (her favorite author), Roald Dahl (whose works dominated children's stories before the appearance of Harry Potter), and even the Ancient Greek story-teller Homer. The first book in the series was followed by six sequels published on an annual basis between 1997 and 2000. The series has sold more that 500 million copies worldwide and has been â translated into 80 languages, â making it the best-selling book series in history and among history's most translated literary works.â The last four books in the series consecutively set records as the fastest-selling books of all time, where the final installment, Harry Potter and the Deathly Hallows, sold roughly fifteen million copies worldwide within twenty-four hours of its release. With twelve million books printed in the first U.S. run, it also holds the record for the highest initial print run for any book in history. Harry Potter and the Philosopher's Stone was adapted into the 2001 fantasy film of the same name directed by Chris Columbus, distributed by Warner Bros. Pictures, and starring Daniel Radcliffe as Harry Potter, Rupert Grint as Ron Weasley, and Emma Watson as Hermione Granger. Warner Bros. bought the film rights to the book in 1999 for a reported £1 million ($1.65 million) and the film was released in November 2001 in the United Kingdom, Ireland, the United States, Canada and Taiwan. It was a critical and commercial success, grossing $974 million at the box office worldwide during its initial run, and over $1 billion with subsequent re-releases. It became the highest-grossing film of 2001 and remains one of the highest-grossing films of all time. It was followed by seven sequels beginning with Harry Potter and the Chamber of Secrets in 2002 and ending with Harry Potter and the Deathly Hallows â " Part 2 in 2011, nearly ten years after the first film's release.
Date d'édition : 1995
Vendeur : Shapero Rare Books, London, Royaume-Uni
Signé
Unique acrylic, resin, formed paper and fiberglass, 1995, signed and dated on the relief centre left: 'F. Stella, 95', 136.5 x 137.2 cm. (53¾ x 54 in.) frieze23 At the end of the 19th century and the beginning of the 20th century fantastical tales of other worlds and eras began to grip the imaginations of the public. The title Atvatabar I references the science-fiction story The Goddess of Atvatabar by William Richard Bradshaw. The story is based on the theory that the planet on which we live is a hollow shell that is one thousand miles in thickness within which are entire continents and oceans that are all lit by an interior sun. Within this fictional earth, fifty million people worship a living goddess of surpassing beauty named Atvatabar. Stella's circular composition confines an abundance of abstract forms and structures, referencing the book's advanced social, philosophical and religious matrix that exist within the earth's interior walls. Given this piece is part of Stella's Imaginary Places series, it is not surprising that Bradshaw's book has earned its place, praised to be one of greatest imaginative efforts put forth by a modern writer.
Edité par Bobbs-Merrill Company, Indianapolis, 1943
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First edition, first issue with first edition stated on the copyright page of the author's first major novel, as well as her first best-seller. Octavo, original red cloth. Association copy, inscribed by the author on the front free endpaper, "To Jack L. Warner - Thank you for your courage and for a magnificent picture - with my profound gratitude - Ayn Rand. January 7, 1949." The recipient, Jack Warner, was the co-founder, president, and driving force behind the Warner Bros. Studios. His career spanned some 45 years, its duration surpassing that of any other of the seminal Hollywood studio moguls. Rand sold the film rights to Warner several years earlier with the contractual proviso that she would provide the screenplay, which would be unalterable. In fact, the director wanted changes, but Warner supported the author and honored the contract. This book's inscription, clearly referring to this, was presented about a half year prior to the film's release. Of Rand's fiction, The Fountainhead is generally conceded to be her most important and enduring work, a passionate portrait of uncompromising individualism. In the decades since its debut, the film has gained the critical acceptance, even the acclaim, that initially evaded it. Near fine in a near fine first-issue dust jacket with a touch of rubbing and no fading to the spine, which is endemic to this title. Housed in a custom full morocco clamshell box by The Harcourt Bindery. One of the finest association copies possible, linking the famed author with the legendary founder of Warner Brothers and producer of the iconic film. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.
Edité par RKO Radio Pictures, Santa Monica, 1933
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Softcover. Etat : Near Fine. An important archive of four significantly different scripts for the landmark and iconic 1933 film *King Kong*, tracing the evolution of the screenplay from conception to execution. Included is the First Draft by mystery writer Edgar Wallace entitled *The Beast*, dated January 5, 1932, completed shortly before his unexpected death; two further drafts by veteran screenwriter James Ashmore Creelman, *The Eighth Wonder* and *Kong*, dated March 9, and June 16, 1932; and a fourth undated, preproduction script detailing the camera setups for the entire film. Each of the scripts come from the archive of Nan Cochrane, head of the RKO Story Department. Additionally included is the three-part script for *Creation*, an aborted RKO fantasy film whose groundbreaking stop-motion special effects and story directly influenced *King Kong*. Together this is an unparalleled group of scripts tracking the development of one of the most notable and iconic film of all time, and likely not to be duplicated.
Date d'édition : 1995
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Etat : Near Fine. An archive of American author William Eastlake consisting of original manuscripts and galley proofs, over 100 letters to him, and other associated documents. Included are corrected typescript manuscripts for five of his major novels, including the first two novels of his acclaimed Checkerboard Trilogy: *Go in Beauty* and *The Bronc People*. Among the letters are 28 from Edward Abbey, author of *The Monkey Wrench Gang*, together with multiple letters from other leading contemporary authors and personal friends, including William Van Tilburg Clark, Jim Harrison, John Nichols, Martha Gelhorn, Barry Lopez, Ray Carver, Gary Snyder, Studs Terkel, Tim O'Brien, Robert Redford, and others, all rich in literary and personal content. Born in Brooklyn in 1917, Eastlake hitchhiked across the United States and made his way to Los Angeles in the early 1940s, where he worked at the Stanley Rose bookstore: frequented by the writers Nathanael West, John Steinbeck and William Saroyan, and the artist Martha Simpson, whom he married in 1943. During the war Eastlake enlisted in the U.S. Army and was stationed at Camp Ord in California, where he was assigned to oversee draftees of Japanese ancestry into the U.S. Army. He led a battalion at the Battle of the Bulge and was awarded the Bronze Star. After the war he stayed in Europe and became an editor for the literary magazine *Essai*, to which he contributed his first published short story: "Ishimoto's Land," about his experiences with Japanese American soldiers. He lived in Paris and returned to southern California in 1950. In 1955, he and his wife purchased a ranch near Cuba, New Mexico, with four hundred acres of land, which became a mecca for several writers and artists, including Edward Abbey, Julian and Juliette Huxley, and many others whose letters are retained in the collection. At his ranch near Cuba, Eastlake wrote many of his novels set in New Mexico and the Southwest, including the manuscripts for three novels in this collection: *Go in Beauty* (1956), *The Bronc People* (1958), and *Dancers in the Scalp House* (1975). At the height of the Vietnam War Eastlake was a correspondent for *The Nation*, stationed in Vietnam (1968-69) [cf. letter from Ernie Pyle]. Eastlake also wrote war novels and political novels, of which this collection includes the manuscripts of *Castle Keep* (1965: a "Gothic mystery, savage modern satire, heroic epic" set during World War II), and *The Bamboo Bed* (1969: one of the first novels to dramatize the insanity of the Vietnam War). Eastlake's *Castle Keep*, about U.S. soldiers trying to defend a Belgian castle filled with art treasures during the Battle of the Bulge was made into a 1969 movie directed by Sydney Pollack, and starring Burt Lancaster and Peter Falk. Other collection highlights among the manuscripts include: the screenplay and two corrected typescripts (an early draft and final setting copy) of *Castle Keep*; together with corrected typescripts of *The Bamboo Bed* and *Dancers in the Scalp House*. Also notable is publisher William Bamberger's retained archive of Eastlake's short story collection: *Jack Armstrong in Tangier* (1984), consisting of typescripts, pre-publication drafts and galleys, and associated correspondence. Among the letters in the collection, most were written to Eastlake by contemporary authors in Eastlake's literary circle, and most are notable for their remarkable literary and personal content. Here is but a small taste from the 28 letters by Edward Abbey, most of which date from the mid-1970s, when his most famous novel *The Monkey Wrench Gang* was in publication: Kanab, Utah, February 22, 1971: ". I wonder if you or Doug Peacock could refer me to some of the literature on sabotage - industrial and civil, bridges, power plants, dams, etc. What I need is detailed information on techniques and materials. For a novel only - not for real. I've about decided to postpone work on my Pennsylvania agricultural Tolstoyan novel . and do now an idea which I've had in my head for years. To be called The Monkey Wrench Gang - or maybe The Wooden Shoe Mob . Destroy this letter. (I am 87% paranoid these days) ." Two letters from the novelist Martha Gellhorn include reflections on Russian literature, Vietnam, Iraq, and a lengthy discussion of her relationship with Ernest Hemingway: ". As for E.H. and being an artist. I cannot separate artist from man . I believe that the quality of the man must come through into his art. The artist is, and must be, more of an egotist than most because no one protects him in the long early stages, so he protects himself like mad . But somehow, despite that professional deformation, the heart has to stay pretty clean or else a faint smell of corruption lingers about the work. I tried to make Ernest be something I could admire; an idiot undertaking ." Jim Harrison's three letters include his views on writing and Edward Abbey, and four letters from Barry Lopez contain references to his current works in progress, including an essay on "the native American mind," his appearance on the Dick Cavett show, and Lopez's forthcoming collection of fiction *River Notes*. Here is what the sculptor and writer Juliette Huxley (wife of British naturalist Julian Huxley), writes in one of two remarkable letters from 1966-67: "This book of yours, Castle Keep. It is like a gothic carving, not of saints, but of men of ordinary flesh . The words are shot with poetry, the blood blossoms and flowers as it is split. It is a strange and rare experience to read such a book, where the unique craft of the writer is disguised but transcends, the violence is made acceptable by the craft, and exploding death becomes a thing of utter beauty . I have just finished it, and Julian read it first, as spellbound as I am." Four long letters from the novelist John Nichols, one of which includes drawings, are refreshingly obscene, especially in regard to his own work, and in a letter from 1979, Robert Redford expresse.
Edité par Popular Fiction Publishing, 1923
Vendeur : Heartwood Books and Art, Fort Lauderdale, FL, Etats-Unis
Magazine / Périodique Edition originale
Soft cover. Etat : Very Good. 1st Edition. Weird Tales was launched to showcase writers trying to publish stories so bizarre and far out no one else would publish them stories of unearthly dimensions and dark possibilities, gothic seductresses, and cosmic monstrosities. Since 1923, the pioneering publication has introduced the world to such counter-culture icons as Cthulhu, the alien monster god, and Conan the Barbarian. Weird Tales is well known for launching the careers of great authors like H.P. Lovecraft, Ray Bradbury, and Robert E. Howard. Even Tennessee Williams' first sale was to Weird Tales, with a short story titled "The Vengeance of Nitocris." This was published in the August 1928 issue under the author's real name, Thomas Lanier Williams. Other well-liked authors included Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Warner Munn. The artwork was an important element of the magazine's personality; Margaret Brundage, who painted many covers featuring nudes for Weird Tales, was perhaps the best-known artist. Many of Brundage's covers were for stories by Seabury Quinn, and Brundage later commented that once Quinn realized that Wright always commissioned covers from Brundage that included a nude, "he made sure that each de Grandin story had at least one sequence where the heroine shed all her clothes." For over three years in the early 1930s, from June 1933 to August/September 1936, Brundage was the only cover artist Weird Tales used. Another prominent cover artist was J. Allen St. John, whose covers were more action-oriented and who designed the title logo used from 1933 until 2007. Hannes Bok's first professional sale was to Weird Tales for the cover of the December 1939 issue; he became a frequent contributor over the next few years. Historians of fantasy and science fiction regard the magazine as a legend in the field, Robert Weinberg considering it "the most important and influential of all fantasy magazines." Weinberg's fellow historian, Mike Ashley, describes it as "second only to Unknown in significance and influence," adding that "somewhere in the imagination reservoir of all U.S. (and many non-U.S.) genre-fantasy and horror writers is part of the spirit of Weird Tales." Today, Weird Tales remains one of, if not the most loved and cherished pulp series. This complete set is an exceptionally rare opportunity to own a large piece of literary history in one fell swoop. The average condition of the set is Very Good, including the scarce first issue.
Edité par The Crime Club, Collins, UK, 1936
Vendeur : Brought to Book Ltd, London, Royaume-Uni
Livre Edition originale
Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. The ABC Murders by Agatha Christie First Edition The Crime Club Collins 1936. A fine book, completely free of inscriptions or signs of previous ownership. Covers are unmarked. In like original bright dust jacket that has no closed tears or creasing. Scarce. For further images please see the Brought to Book homepage.
Date d'édition : 1930
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Etat : Very Good. A large, fully catalogued collection of over 600 early guidebooks published throughout the continental United States. This remarkable collection of highly detailed and multi-purpose ephemeral guides, many of which contain folded maps, spans the entire 19th Century from 1796 up through the First World War and early 1920s. The collection includes over 145 guidebooks to New York City alone: "the Commercial Metropolis of the United States" of which over 100 were published between 1807 and 1898, the year of consolidation of the city of New York. The majority of the guidebooks in the collection are bound in the original publisher's bindings and printed wrappers, which are particularly important for the additional bibliographical and historical information they provide about these uncommon guidebooks which were heavily used (both on the road and at the places they describe), and often discarded when no longer needed. Most are well-preserved in good or very good condition: about thirty have been professionally re-backed with matching period style calf or cloth, and about twenty have a folded map neatly backed or mended at the folds with Japanese paper. Among the guidebooks in original wrappers, about fifty show signs of heavy use with chipped or torn covers. The collection documents the nation's great expansion throughout the 19th Century and reveals how each city or town sought to attract both immigrants and visitors to support and further develop local businesses and industries. Here for example is a headline from Nathan Parker's 1867 *Stranger's Guide to St. Louis*: "To Immigrants & Strangers! Nathan H. Parker . may be consulted . Respecting Judicious Investments in Farming, Fruit Growing, Mining, Manufacturing, &c." Included among the collection's many guides with historically important folded maps are several maps of New York City and Philadelphia dating from the 1820s by Benjamin Tanner and Henry S. Tanner, including John Melish's 1819 map of Philadelphia and William Hooker's 1828 map of the city of New York. Also included is H.W. Faust's 1882 map of San Francisco, and 19 "Travellers Guides" to the United States dating from 1826-58 that contain important maps by Henry S. Tanner and Samuel A. Mitchell. The guidebooks combine up-to-date information and narrative descriptions of civic and cultural institutions, hotels, clubs, churches, etc., street, water and railway transit systems, together with insider tips and advice relative to the history and spirit of the place. Most include one or more folded maps, plans, directories, etc., along with illustrations and copious advertisements. As noted by one modern scholar: "The roughed conditions of travel insured much destruction of these little documents which were sold at inns and stations and called â Traveller's Companion' or â Stranger's Guide.' They were often updated, sometimes an undetermined number of times within a single year, because demand for the best information was startlingly real." The collection also includes several city directories from the early Republic which served as the nation's first guidebooks because of the additional information they contained, such as: *Stephen's Philadelphia Directory for 1796*; John Paxton's *The Stranger's Guide. An Alphabetical List of All the Wards, Streets, Roads, Lanes, Alleys, Avenues, Courts, Wharves, Ship Yards, Public Buildings &c. in the City and Suburbs of Philadelphia* (which includes the important 1819 "Map of Philadelphia County" by John Melish); and Charleston's (South Carolina) first *Directory and Strangers' Guide* from 1831. An examination of the collection's New York City guides shows how they evolved from civic resources for New York residents in early America to "insider" and promotional guides for both local residents, visitors, and â strangers' to the city before and after the Civil War. Other big cities well represented in the collection include Washington D.C., Philadelphia, Boston, Chicago, and New Orleans. Also included are multiple guides to San Francisco, Los Angeles, and Salt Lake City, and to several smaller cities and towns throughout New England, the mid-west and northwestern states, and a few southern states. An historically important collection featuring many scarce surviving Stranger's and related guidebooks. While all are uncommon, over 130 show fewer than 10 printed copies in *OCLC*, of which 29 record only one copy, and 25 are unrecorded. Each guidebook has been carefully catalogued and described. A detailed catalogue follows with photographs of all 614 titles. Reference: Andy McCarthy, *Old Time Tours: New York City Guidebooks* (May 7, 2020).
Edité par Various, Various, 1965
Vendeur : Type Punch Matrix, Silver Spring, MD, Etats-Unis
Edition originale Signé
Etat : Very good. First edition run of all 24 novels in the Tarzan series, including TARZAN OF THE APES in the rare original dust jacket and five inscribed books - along with Burroughs's rare 1917 AUTO-BIOGRAPHY and two further Tarzan titles. Tarzan is one of the most recognizable pop cultural icons of the 20th century. Beginning with the novels, but quickly translating to film and beyond, Tarzan soon had his own merchandise, piracies, and international adaptations (including Bollywood films and Japanese manga). Tarzan's relationship with the movies - beginning in 1918, during the early years of popular film - was especially rich. One producer of Tarzan films, Sol Lesser, described Tarzan's global market saturation with only slight hyperbole that "there is always a Tarzan picture playing within a radius of 50 miles of any given spot in the world - in Arab villages, African bush theatres and in pampas settlements down the Argentine way" (quoted in Abate & Wannamaker, 3). But Tarzan enjoyed many revivals in print as well; in 1963 "one out of every thirty paperbacks sold was a Tarzan novel" (Torgovnick, 42). For over 100 years, Tarzan has remained a vivid figure in our popular imagination. Tarzan's world is not all boyhood innocence: it also "embodies a powerful emblem of past white Western imperialism and, correspondingly, of the present colonialization of the world by American culture" (Abate & Wannamaker, 5). But alongside this, Tarzan has remained internationally beloved as a potent mix of the Rousseauian "noble savage" and the Swiftian "stranger in a strange land," - a mythic figure like Romulus and Remus (one of Burroughs's inspirations) or Robinson Crusoe (also an early literary phenomenon). Above all, the books were fun: as Ray Bradbury recollected, "we may have liked Verne and Wells and Kipling, but we loved, we adored, we went quite mad with Mr. Burroughs" (intro to Porges, xviii). This complete collection of the Tarzan novels features one of the rarest and most sought after books in Modern Firsts collecting: a first edition of TARZAN OF THE APES in the original dust jacket. Of the five books inscribed by Burroughs, two are among the earliest in the series: BEASTS OF TARZAN (#3) and SON OF TARZAN (#4). In addition to the novels of the main series, this collection includes the scarce early piece of Burroughsiana, a short memoir commissioned by the Republic Motor Truck Company on one of Burroughs's transcontinental journeys; only a few copies were bound in the deluxe suede binding, apparently for the personal use of the author. The final two included books are TARZAN AND THE TARZAN TWINS, which collects two Tarzan novellas for younger children; and THE OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA, published by Burroughs as a manual for organizing and running a Tarzan fan club. Altogether, these books form an exceptionally comprehensive monument to the Tarzan phenomenon. 27 volumes, most 7.25'' x 5''. Original cloth bindings. All in original dust jackets except RETURN, BEASTS, and SON; EARTH'S CORE in a later Grosset & Dunlap jacket. TARZAN OF THE APES in rarest state, per Currey: title page cancel, W.F. Hall imprint in Gothic lettering, binding without acorn. Additional first editions outside the Tarzan novels: AN AUTO-BIOGRAPHY (1917); TARZAN AND THE TARZAN TWINS (1963); and OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA (1939). Jackets of TARZAN OF THE APES, JEWELS, TERRIBLE, GOLDEN LION, and ANT MEN restored; a few others with tape repairs or chipping to edges. Condition ranges from fine copies (TRIUMPHANT, FORBIDDEN CITY) to very good minus (JUNGLE TALES, LORD); overall very good. Five inscribed books: BEASTS, SON, GOLDEN LION, INVINCIBLE, and LEOPARD MEN. AUTO-BIOGRAPHY and FOREIGN LEGION in custom clamshell boxes. A full inventory is available upon request.
Edité par [Turkey: 1955], 1955
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
A significant Fleming manuscript, his notebook filled with observations, questions, and ideas from his observation of the 23rd annual conference for the International Criminal Police Commission in Turkey, gathering material which had a clear influence on From Russia, With Love and the remainder of the Bond series. The manuscript was studied and cited by Pearson in his biography of Fleming. The 1955 conference of the ICPC - the precursor to Interpol - drew together government representatives, agents, and related stakeholders from around the world. Fleming was sent to cover the conference for the Sunday Times, travelling in the company of Sir Ronald Howe, the Assistant Commissioner of Scotland Yard, and was introduced to a number of important businessmen and government officials. "The elaborately embossed blue pads which the Turks had distributed were ideal for a thriller-writer's notes and queries, and he brought several pages of these back with him" (Pearson, p. 272). Fleming was disappointed with the people he met at the conference. "The idea of an Interpol Conference sounds like a thriller-writer's private gold-mine. The reality must have given Fleming on more reminder that fiction is stranger and infinitely more satisfactory than truth. For the truth about the Interpol Conference was that it was a very serious, very unspectacular convention of dedicated professional men, and it needed all Fleming's ingenuity to discover sufficient news for an article on the conference agenda for that week's Sunday Times. all this left Fleming rather stunned, and he gave his private verdict on the Interpol Conference in a letter to Admiral Godfrey. It sums up the curious contempt which the man who dreams about crime must always feel when he meets the men who merely deal with it. 'The trouble with these policemen', he wrote, 'is that they have no idea what is really interesting in their jobs and regard criminal matters as really a great bore'" (Pearson, p. 270). Nonetheless, the manuscript notes show Fleming paying close attention to the intelligence community and especially the Russians, evidently with an eye to material for his novels. He jots down subjects on which information is needed including "types of cigarettes, cigars. is tea brought into meetings? Russian girls love Englishman - what for - what dislikes". He questions "Types of cigarettes, cigars, Black Sea villa - where, description, swear-words. In conversation-polite? Harsh?". He notes of Russian women "no women smoke not well regarded. Hair very important. Puritanical sexually. No lipstick. Good clean nails. girls must have scent". Fleming makes numerous comments regarding the operations of various global intelligence services, Russian language, and culture - "Colours of folders. Top Secret, etc. SMERSH. Show passes - what color - photo taken again. Use numbers? Or letters! for spies?". Aside from the conference, Fleming travelled around Istanbul, and witnessed a riot after news broke that the birthplace of Kemal Ataturk had been bombed by Greek terrorists. This, Pearson notes, was Fleming's first sight of real violence (p. 271). Most important was Fleming's guide for the trip, the Oxford-educated shipowner Nazim Kalkavan, who regaled Fleming with thrilling tales of Soviet spies and vengeful belly-dancers. Though Fleming notes in his personal copy of this title (held in the Lilly Library, University of Indiana) that the character of Darko Kerim was entirely fictional, Gilbert and Pearson both note that the number of similarities between the character and Kalkavan suggest otherwise. Another note "popular gold in teeth. Steel caps = service teeth" - seems a foreshadowing of the character Sol 'Horror' Horowitz in the Spy Who Loved Me, further adapted as the character of Jaws in later Bond films. Provenance: Sotheby's, London, July 20, 1989, lot 176. Gilbert A5. John Pearson, The Life of Ian Fleming, 1966. Top-bound notepad (275 x 198 mm), emblems of the International Criminal Police Commission (ICPC) and the Turkish Criminal Police Commission printed in dark blue to front paper wrapper and at head of each leaf, 3 initial leaves with autograph notes in blue ink (rectos only). Together with a bifolium (336 x 210 mm), 4 lined pages, pp. 1, 2 and 4 featuring autograph notes in red and blue ink. Housed in a black quarter morocco solander box by the Chelsea Bindery. Notepad: a few light marks to wrappers, minor creasing at head of block, couple of horizontal creases to wrappers, and to a few initial leaves where previously folded over, two short closed tears in margin of front wrapper corresponding with creases, first leaf detaching slightly from block on the upper left side but holding firm. Bifolium: mild toning, minor creasing to corners, central horizontal crease, leaves with short split starting along the fold at edge, just touching three letters on one page, light foxing to outer margins, tiny mark from adhesion of p. 2 and 3 in the upper inner corner, small spots to p. 4. Some pencilled notes to the documents from John Pearson's prior research, clippings and printouts on the notes also included. A number of initial leaves of this notebook were excised at a previous time and are now held in the Lilly Library. Overall in very good condition.
Edité par London: George Allen and Unwin., 1937
Vendeur : LUCIUS BOOKS (ABA, ILAB, PBFA), York, Royaume-Uni
Edition originale
First edition, first printing. Publisher's original green cloth with dark blue titles and wraparound illustration to the boards and spine, in the author illustrated dustwrapper. Top edge reen. Endpaper maps, frontispiece and 9 other black and white illustrations by the author. An excellent near fine copy, the binding firm and the cloth bright and fresh. The spine is just a touch rolled and the green top-stain has faded. The contents, with a small ink name to the blank front endpaper are otherwise clean and bright throughout. Complete with the wonderful author illustrated, price-clipped dustwrapper that is toned to the spine and flap edges, with a touch of spotting to the white of the panels and some expert restoration to a few small chips at the spine tips and fold corners. The rear flap with the hand correction to "Dodgeson", as called for and present only on the first printing. An attractive example. A major high spot of fantasy fiction, the first printing was published on 21st September 1937 in an edition of only 1500 copies. Tolkien's first novel was an immediate success, selling out within months and a second printing hurriedly issued in December of the same year. The Hobbit has never been out of print, selling over a hundred million copies worldwide with translations in fifty languages. (Bleiler; Hammond and Anderson A3a). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.
Edité par The Crime Club, Collins, UK, 1937
Vendeur : Brought to Book Ltd, London, Royaume-Uni
Livre Edition originale
Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. Murder In the Mews by Agatha Christie First Edition The Crime Club Collins 1937. A fine book that is free of inscriptions. Very light foxing to edges. Covers completely unmarked. In bright original Robin Macartney designed dust jacket. The jacket is fine and has no nicks, closed tears or creasing. Scarce. For further images please see the Brought to Book homepage.
Edité par Shakespeare and Company May 1927, Paris, 1927
Vendeur : Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, Etats-Unis
Edition originale Signé
Ninth Printing of the First Edition. 205 x 160 mm. (8 1/8 x 6 1/4"). 4 p.l. (first blank), 735 pp. DRAMATIC DARK BLUE-GRAY CRUSHED MOROCCO, BLIND-TOOLED AND INLAID TO AN ABSTRACT DESIGN, BY SALLY LOU SMITH (stamp-signed with her initials in gilt on rear doublure), with overall wraparound design of inlaid elongated, irregular-shaped pieces of black, gray, blue, tan, and yellow morocco with blind-tooled lines extending from these shapes, MATCHING MOROCCO DOUBLURES tooled in gilt with branch-like lines, yellow handmade free endpapers, gray flyleaves, all edges gilt. In the matching morocco-backed clamshell box. Front flyleaf INSCRIBED BY JOYCE TO H. G. WELLS: "To / H. G. Wells / Respectfully / James Joyce / 5 November 1928 / Paris." Slocum and Cahoon 17. â Isolated faint foxing or marginal spots, but a clean, fresh copy with few signs of use, in a new binding. This later printing of what is generally recognized to be the most important 20th century novel in English is inscribed by the author to one of his earliest and most important supporters, and is offered in a binding by an influential Designer Bookbinder. First issued in 1922, "Ulysses" rocked the literary world. J. B. Priestley, writing in the "Clarion" in 1934, said what most scholars and critics acknowledge--that "as a literary feat, an example of virtuosity in narration and language, it is an astounding creation. Nobody who knows anything about writing can read the book and deny its author, not merely talent, but sheer genius." Our copy was presented by Joyce to H. G. Wells (1866-1946), whose support of "Portrait of the Artist as a Young Man" was instrumental in establishing Joyce's literary reputation. Reviewing that book in 1916, Wells praised "its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction." He considered "Portrait" to be "by far the most living and convincing picture that exists of an Irish Catholic upbringing," and noted how sharply it contrasted the Irish and the English: "No single book has ever shown how different they are, as completely as this most memorable novel." The two men did not meet until 12 years later, in Paris, at which time Joyce inscribed the present copy of his masterwork to Wells. At the same time, Joyce presented Wells with some excerpts of what would become "Finnegan's Wake." On 23 November 1928, Wells wrote to Joyce from his winter home in the south of France, expressing his regret that he could not promote these latest works with the same enthusiasm: "I have enormous respect for your genius dating from your earliest books and I feel now a great personal liking for you but you and I are set upon absolutely different courses. . . . I want a language and statement as simple and clear as possible. . . . Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?" Still, Wells acknowledged, "Your work is an extraordinary experiment and I would go out of my way to save it from destructive or restrictive interruption." The abstract binding by distinguished modern artisan Sally Lou Smith evokes a journey: as the multicolored inlays march from the rear edge around the spine and across the front against a grim, gray ground, Bloom's peregrinations through Dublin and the characters he encounters seem to be brought to mind. Born in the United States, Smith (1925-2007) spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001).
Edité par The Crime Club, Collins, UK, 1933
Vendeur : Brought to Book Ltd, London, Royaume-Uni
Livre Edition originale
Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. Lord Edgware Dies by Agatha Christie First Edition The Crime Club Collins 1933. A fine copy with no inscriptions and no age toning or foxing to contents or edges. Covers are bright, unblemished and have no toning or darkening to spine. In a bright fine dust jacket with no creasing or closed tears, completely unfaded. An excellent copy.
Edité par London: Methuen and Company Ltd., 1908
Vendeur : LUCIUS BOOKS (ABA, ILAB, PBFA), York, Royaume-Uni
Edition originale
First edition, first printing. Original blue-green cloth with gilt illustration and title to the front and spine, in the supplied first printing dustwrapper. Top edge gilt. Black and white frontispiece by Graham Robertson, complete with tissue guard, as issued. A better than very good copy, the binding square and firm with a little rubbing at the extremities. The contents, with some spotting to the endpapers and deckled edge are otherwise clean througout and without inscriptions or stamps. Complete with the rare first printing dustwrapper that is chipped with a little loss to the spine ends and corners with thin archival tissue paper strengthening to the underside at the folds. Correctly priced 6/- to the upper panel (subsequent editions were published at 7/6). Housed in a bespoke quarter green morocco solander case. An excellent example of this classic of children's literature and a genuine rarity in the first printing dustwrapper. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.
Edité par Strand, London and New York, 1927
Vendeur : Biblioctopus, Los Angeles, CA, Etats-Unis
Edition originale
Paperback. Etat : Good. First Edition. 79 vols. 1st appearances anywhere, in the original monthly parts, of all 56 stories and both of the novels (The Adventures, The Memoirs, Hound of the Baskervilles, The Return, Valley of Fear, His Last Bow, and The Casebook), being every Holmes story that Doyle ever wrote, and the 2 novels published serially in these magazines (only A Study in Scarlet and The Sign of Four were not published in the Strands). All are the "London and NY" issues except The Hound which is imprinted "NY and London." Half the spines faded, some chips, tears, and strengthening, else very good, and most crucially, it's all here, and rarer than a football player blaming God for a defeat, and it's quite a beguiling time capsule of wide ranging content, fashion, illustration and advertising. The first modern media spectacle, and the model for all that followed, exploded when these Strands were issued. After the first 2 or 3 stories, unprecedented buzz generated long queues, stretching for blocks, at newsstands on the day of the months that each was published. Yet, despite those sales, sets in wrappers are now of the utmost rarity, but in reverse of their chronology. The Adventures and The Memoirs are seen occasionally, and sets of them are 100 times rarer in wrappers than when they've been rebound, or in the annual Strand collected clothbound form that is so often seen, or even the later cloth 1st editions. The Hound is 5 times scarcer again than The Adventures or Memoirs and the same proportions hold true for its relative scarcity over the bound Strands or the clothbound 1st edition. Then it gets crazy. Complete sets of The Return and Valley of Fear, in wrappers, are rare, and significantly less obtainable than their predecessors, and complete runs of His Last Bow and The Casebook, might as well be impossible. In fact, hopes for finding any of the last 4 in wrappers, complete with all their covers, other contents and ads, belong in the morgue, as few booksellers, collectors or librarians, have ever seen a single set of them for sale, at any price, in any condition. Sherlock Holmes is the most durable, and most famous, character in the entire landscape of literature, and the stories are sheer stardust, the morphine drip of impeccably contrived, mind expanding detective fiction, and the most often imitated, parodied and adapted works in the English language.
Edité par Baarn: Self published, February 1950, 1950
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Signé
Unknown edition, signed by the artist in pencil lower left. The image depicts a dodecahedron merged with a glass sphere, reflecting broken and disorderly objects. Escher's work explores the concept of impossible geometry used frequently in fantasy and science fiction, from notable early examples such as E. A. Abbott's Flatland (1884) to later works such as those by Jorge Luis Borges in which the "construction of the fourth dimension in their literary creation can find analogy in the magic mirrors of M. C. Escher" (Zeng). Escher's works have likewise provided a visual language for many subsequent illustrations of the weird, including the works of H. P. Lovecraft. Bool/Kist/Locher/Weird 366; Bruno Ernst, The Magic Mirror of M. C. Escher, 1976; Hong Zeng, The Semiotics of Exile in Literature, 2010. Original lithograph on smooth wove paper. Image size: 28 x 28 cm. Sheet size: 31.9 x 31.5 cm. Framed size: 52.2 x 51.2 cm. Excellent condition. Presented in a white gold frame with museum acrylic glazing.
Edité par Denmark,, 1909
Vendeur : Daniel Crouch Rare Books Ltd, London, Royaume-Uni
Manuscrit / Papier ancien
Life on Mars Globe, papier mâché with original ink and body hand-colouring, plaster coating, varnished, bronze stem and base. A rare and fascinating manuscript globe of Mars made during a period of renewed interest in the red planet and suggestive of the possibility of Martian civilisation. Biography Emmy Ingeborg Brun (1872-1929) was a Danish writer, socialist and astronomer. She had no formal training - her father did not allow her to go to university - and spent long periods of her life bedridden, but was fascinated by the theories of contemporary astronomers Percival Lowell and Giovanni Schiaparelli, and the political scientist Henry George. Mars in the Twentieth Century Improving contemporary scientific observation of Mars was accompanied by a corresponding interest in socio-political thought in the planet as a potential site for socialism or communism. This took the form of fiction, like Alexander Bogdanov's 1908 novel "Red Star", and was also addressed in scientific theories. In 1855 Schiaparelli observed a network of dark lines on the Martian surface. When he published his findings, along with the first detailed modern map of Mars, he named them "canali", and suggested that they were built by a socialist regime, as a planet-wide system suggested a lack of national boundaries (Basalla). Lowell popularised these theories by publishing three books on the subject, claiming these lines were indeed a canal network and raising the possibility of a Martian civilisation, although he opted for a "benevolent oligarchy" (Basalla). Brun was intrigued by these canals, which she saw as evidence of a different, more co-operative form of society. Mars was the potential site for a socialist utopia - and in particular, a potential field for an implementation of Henry George's theories of a land-tax, as proposed in his 1879 work 'Progress and Poverty', in which he argued against a system of profit from renting land or property without contribution. Brun adapted Lowell's maps into manuscript globes, painting her interpretations on top of existing printed globes. After showing them to experts in the field, she donated them to various astronomical observatories and institutions. She sent one to Lowell himself in 1915, who replied warmly that it was "a capital piece of work", although it was initially arraigned at customs because the officers thought it was a bomb. Geography The globe uses Lowell's territorial observations and Schiaperelli's nomenclature for the features, most of which is no longer used. The North Pole is inscribed "Nix 1909", and the bronze base carries the inscription "Free Land. Free Trade. Free Men", a slogan inspired by the work of the political economist Henry George, and a line from the Lord's Prayer: "Thy will be done on earth as it is in heaven". We have traced seven institutional examples: the National Maritime Museum, Greenwich; National Museum of Scotland, Edinburgh; Whipple Museum of the History of Science, Cambridge; Museo Specula Vaticana, the Vatican; Museum Observatoire Camille Flammarion, Juvisy-sur-Orge; Ole Rømer Museet, Taastrup; Randy and Yulia Liebermann Lunar and Planetary Exploration Collection. One example appeared at auction at Bonham's New York on 5th December 2012, selling for $50,000 (Lot 129). George Basalla, Civilized Life in the Universe: Scientists on Intelligent Extraterrestrials (Oxford: Oxford University Press, 2006). Diameter: 210mm (8.25 inches). Overall height: 420mm (16.5 inches).
Edité par Ballantine Books, New York, 1953
Vendeur : Burnside Rare Books, ABAA, Portland, OR, Etats-Unis
Edition originale Signé
Asbestos Binding. Etat : Fine. Etat de la jaquette : Fine. First Edition. First edition in perhaps the nicest example of this dust jacket extant in the world today; a rarity that practically glows. Number 25 of 200 copies with limited issue asbestos binding, hand numbered and signed by Ray Bradbury on the colophon. Approximately 50 copies of which were sold in trade dust jackets though not called for, and this is one of those copies. [viii], 199, (3) pp. Johns-Manville Quinterra asbestos binding, lettered in red. Fine, with light ambient toning to the boards, light offsetting to the front free endpaper and contents lightly tanned. In a Fine dust jacket, with absolutely no fading (we have never seen one without fading); two micro-tears to the edge, a minuscule crease to the top corner of the rear panel and trivial rubbing at the folds. The classic dystopian, anti-censorship novel, plus two short stories "The Playground" and "The Rock Cried Out." A sought-after signed limited edition with the dust jacket extremely uncommon in such impeccable condition. Truly a sight to behold.
Edité par Jonathan Cape, London, 1927
Vendeur : Temple Rare Books, Oxford, Royaume-Uni
Edition originale
Hardback. Etat : Good+. Etat de la jaquette : Good+. First Edition. [8], 9-286pp. Original cloth in DJ. DJ lightly browned, lower panel very lightly browned, minor chipping to corners, slightly rubbed, especially to joins, and very lightly creased. Spine of book lightly faded, endpapers lightly browned from the glue, small stain to top margin of A6-B4, otherwise internally quite bright and clean. Now housed in a morocco backed drop back box, with raised bands, spine in six panels, title lettered direct to second panel, author to fourth, and date to foot, all panels with double line gilt border, made by Temple Bookbinders. An early Hemingway work, published in the US as 'The Sun Also Rises', in the rare first issue dust jacket. A cornerstone of modernist fiction, Connolly notes that "here the post-war disillusion and the post-war liberation are united in the physical enjoyment of living and the pains of love", further opining that Hemingway became "an immediate symbol of an age" (Connolly, The Modern Movement, page 53). Hanneman 33A; Connolly, 'The Modern Movement', 50 Size: 8vo.
Edité par Paris: Shakespeare and Company, 1922
Vendeur : Yves G. Rittener - YGRbookS, Zürich, Suisse
Livre Edition originale
Softcover. Etat : Wie neu. Etat de la jaquette : Wie neu. 1. Auflage. Paris: Shakespeare and Company, 1922. First Edition, First Printing. Original blue printed wrappers. 4to. This is number 986 of the edition of 750 numbered copies of a total edition of 1000 copies (+ some more described below). Very minor wear to extremities of the spine and some slight toning to the wrappers, else a lovely copy: uncut, mostly unopened and completely untouched by any restorer. Small contemporary portrait of Joyce by C. Rup mounted on the recto of the half-title (taken from the original subscriber's form, which is in itself very rare) together with the neat signature of Frank Layton, who bought this copy on the 16th of March in 1922 according to Sylvia Beach's "Ulysses" Notebook. There are six known versions of the first edition of Ulysses: 1. Unbound proofs. 2. Review copies that came without the famous blue wrappers. 3-5. The three editions of the published version: 100 signed (3); 150 on large paper (4); 750 regular copies numbered like the one we are offering here (5). 6. There are some unnumbered copies - most prominently the one inscribed to the printer Darantiere - hors commerce. Please note that any copy of the first edition of Ulysses in its original condition is flimsier than any paperback you have ever owned: the book is heavy, the folded blue paper front and back covers only strengthened by a sheet of paper and the spine directly glued on to the book. This copy formed part of the Allan D. McGuire Collection of Cyril Connolly's "The Modern Movement - 100 Key Books from England, France and America 1880-1950" and was also exhibited in the "Allspace in a Notshall" Exhibition in Zürich in 1991. It comes with a beautiful three-quarter morocco slipcase and all the documentation of provenance and exhibtion. The Book of Books on any list of modern fiction (even after 100 years) and a great and funny read at that, which comes here in beautiful condition and with a full record of provenance. It is part of our Catalogue 10: James Joyce.
Edité par Three Mountains Press, Paris, 1924
Vendeur : Burnside Rare Books, ABAA, Portland, OR, Etats-Unis
Edition originale
Etat : Near Fine. First Edition. First edition, copy number 23 of a limited 170 copies. 30 [1] pp. Bound in publisher's paper-covered boards with news-clipping design. Near Fine with light edge wear, light wear to spine ends with a closed tear roughly one-inch from the base (though suggesting no restoration), toning to spine and the usual browning to the endsheets. Housed in a custom cloth chemise case with morroco title label stamped in gilt. Hemingway's scarce second published book, and his first of short fiction. Though intended to be published in an edition of 300 copies, due to a printing error only 170 were released and originally sold through Sylvia Beach's literary juggernaut of a bookshop, Shakespeare & Company.
Edité par [New York City, 1940
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Etat : Near Fine. A collection of 74 original artworks by New York-based surrealist and fantasy artist Sidney Garber, consisting of a series of 26 watercolor paintings (titled "Naissance" on a separate sheet); an untitled series of 37 pen and ink drawings; and 11 other stylistically similar pen and ink drawings, six of which were exhibited at the Opportunity Gallery on 56th Street in New York City. The artwork document Garber's psychotherapeutic journey (inspired by Carl Jung's "confrontation with the unconscious"), dating from when he was a young man in his early 20s. The 26 watercolor images measure about 14.75" x 10.5" on thick textured paper sheets (19.5" x 15"). All were numbered and captioned at the bottom margin with thin typed paper labels. The series of 37 pen and ink images measure about 11" x 8" on Bainbridge Illustration boards, and are numbered and captioned in pencil at the bottom margin. The series of six pen and ink images exhibited at the Opportunity Gallery are on textured paper sheets mounted in mat frames, and the remaining five unidentified pen and ink images are on boards. The watercolors have small glue stains to the bottom margins from the paper labels (now detached or missing), the paintings in mat frames have light glue stains on the backs (one mat frame has gone missing), near fine. A remarkable collection of striking images, consisting of surreal scenes of macabre fantasy characters and monsters; fantastic scenes of the artist passing through various stages of "naissance," spiritual conflicts, and awakenings; and both fantastic and tender scenes of the artist renewed and in a state of harmony with a woman and child. All 74 images dramatize the Jungian Individuation process of integrating conflicting drives, including the conscious with the unconscious, which first became popular in the mid-1930s among a growing group of American followers. (After a trip to New Mexico in 1924-25, Jung made two more trips to America: in 1936 to give lectures in New York and New England, and in 1937 to deliver the Terry Lectures at Yale University). Among the themes and subjects as noted in the captions, we note but a few: "Deep down, away, within I go" - "And mount the cord thru victorious jaws" - "And make with death, a growing fire." The pen and ink drawings prepared for exhibition have the artist's name "Sidney S. Garber" and address written on the back, along with printed labels (most or partially removed) indicating that they were exhibited in the Opportunity Gallery at the Art Center, an important venue (opened in 1927) subsidized by the City that provided "opportunity" to artists to show their work. The friendship between Mark Rothko, Milton Avery, and Adolph Gottlieb originated at the Gallery, where all three began exhibiting their work in the late 1920's. About Sidney Garber's relatively short life, little is known. The son of Russian Jews, he was born in Queens in 1916, and killed off the coast of Tunisia at the age of 27 during the Second World War. According to a 1945 syndicated article on "War Widows," he married the "fair-haired, dark-eyed Helene Garber, who lost her husband . when a transport was torpedoed in 1945 . ." Several paintings in the collection dramatize their courtship and the nature of their love: "Resistance", "I will destroy what you are," "Thru tears she comes," "Reflected in the crystal clearness of my soul is she." One of the pen and ink drawings depicts a man and woman holding an infant aloft. A remarkable and historically important collection of innovative paintings, being among the first by an â ordinary' young American man to depict Jungian psychological themes and concepts. A detailed list is available upon request.
Edité par Popular Fiction Publishing Company / Weird Tales / William C. Merrett, Indianapolis / New York / London, 1973
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Etat : Near Fine. A remarkable collection of 83 beautiful issues of *Weird Tales*, containing many of H.P. Lovecraft's best known stories including "The Horror at Red Hook," "The Dunwich Horror," "The Rats in the Walls," "The Case of Charles Dexter Ward," "The Shadow over Innsmouth," "Herbert West: Reanimator," "The Outsider," "The Strange High House in the Mist," "The Whisperer in Darkness," "The Dreams in Witch poems, including those from his House," "The Haunter of the Darkness," "The Thing on the Doorstep," and many others. These issues also contain numerous Lovecraft *Fungi of Yuggoth* sequence, as well as his important essay, "Supernatural Horror in Literature." In addition, there are several contributions which were co-written or heavily edited by Lovecraft, but which do not appear under his name. And finally, these issues contain works by many other important genre writers, notably Robert E. Howard, whose contributions include the novel *Almuric* and numerous stories such as "The Lost Race" and "Pigeons from Hell." Other writers represented include Clark Ashton Smith, Edmond Hamilton, David H. Keller, Seabury Quinn, and a young Robert Bloch. Further details available upon request.
Edité par Arkham House, Sauk City, WI, 1939
Vendeur : Captain Ahab's Rare Books, ABAA, Stephenson, VA, Etats-Unis
Membre d'association : ABAA
Edition originale Signé
First Editions. First Printings, one of 1,268 copies. Two octavo volumes (24cm); black cloth, with titles stamped in gilt on spines; dustjackets; xiv,553,[5]pp. The present offering consists of two unique copies:- Copy 1: Trivial wrinkling to cloth at crown, else Fine. Dustjacket is unclipped (priced $5.00), gently spine-sunned and lightly edgeworn, with shallow loss to base of spine, and some light dust-soil and waviness to rear panel; Very Good+. Inscribed vertically along the left margin of the rear flap by dustjacket designer Virgil Finlay: "This jacket is a photographic composite of early Weird Tales drawings, probably only one or two were for HPL stories - I wish I might have found time for more of his work which I did admire / Virgil Finlay." Housed in a custom half-morocco clamshell case. - Copy 2: Trivial wear to lower board edges, faint dust-soil to upper edge of textblock, with mild offsetting and some faint, scattered foxing to endpapers; Near Fine. Inscribed by Arkham House co-founder Donald Wandrei on front endpaper: "For Priscilla and the goon Donald Wandrei / Christmas, 1939." In the apparently unique trial dustjacket, printed in green instead of blue, with the flaps and rear panel without text; light wear and a few tiny tears to extremities, hint of sunning to spine, with a faint vertical fold along rear joint, and some mild dust-soil to rear panel; holograph printer's measurements (in ink) across base of spine panel; Very Good+. For the sake of completion, offered together with a Fine copy of the replica dustjacket produced in the 1970's by specialty publisher and collector Gerry de le Ree, from Finlay's original plates. Folded and laid into this copy are examples of the publisher's original prospectus (measuring 7.25" x 7.75"), as well as an earlier, mimeographed announcement letter (measuring 8.5" x 11"). Housed in a custom half-morocco clamshell case. The first major collection of Lovecraft's weird fiction and the first production by the legendary Arkham House - a landmark in 20th century genre publishing. The 32 stories written for various pulp magazines were gathered and preserved by Lovecraft's friends, August Derleth and Donald Wandrei, who founded Arkham House in 1939 to preserve and publish the best of Lovecraft's fiction. The stories "range from early exercises in Dunsanian pastiche to the mature and highly distinctive tales of the Cthulhu Mythos, which construct a horrific cosmological and historical context for human history. Luckless protagonists who stumble upon various dire intrusions of Cthulhu and his kin, or who unwisely pursue dangerous inquiries in the appropriate revelatory tomes, are inevitably brought to repulsively stick ends. Lovecraft became the consummate master of the confirmatory ending, in which what has been suspected all along finally becomes manifest" (Barron, Horror Literature: A Reader's Guide 3-132). It took Derleth and Wandrei nearly five years to sell through the modest print run, and The Outsider has not been reprinted since. Enclosed with the present copies are a five letters (written between May 10, 1937 - November 26, 1939) between the Arkham House principals, detailing both the publication history of The Outsider, as well revelatory background information concerning the dustjacket design by Virgil Finlay (1914-1971). In his time, Finlay was among the most in-demand illustrators of fantasy, science fiction, and horror literature in the United States, and his panoramic composition for The Outsider's dustjacket remains among the best executed and most desirable examples in the genre. According to a letter to Derleth from Adolph J. Hyson (of the George Banta Publishing Company), proofs for the dustjacket were struck in three colors - black, bronze blue, and a dark olive green. Both the black and green versions of the dustjacket were vetoed by all involved the black on account of having "a strangely flat and monotonous effect, without depth or life. Second, and more important, certain of the figures, such as the monkey-like and ass-like creatures to the right of the topmost star containing the woman's figure behind the lettering "By", faded away to almost absolute imperceptibility in black, but stood out with fairly well defined clarity in the blue" (DW to VF, Nov.14, 1939). The green jacket was dismissed right out, and described by Wandrei as being "a peculiarly detestable and odious color." It is not clear how many examples of either the black or green trial state dustjackets survived after being scrapped, though all of the predictably few extant examples originated with the personal collection of Donald Wandrei, sold close to four decades ago. Joshi 15.
Edité par Shakespeare and Company, 1922
Vendeur : Brainerd Phillipson Rare Books, Holliston, MA, Etats-Unis
Membre d'association : SNEAB
Livre Edition originale Signé
Hardcover. Etat : Very Good. No Jacket. 1st Edition. Specially bound in full leather in 2 volumes. This is number 389 of a the special 750 copies printed on handmade, laid paper. Signed and dated in ink by James Joyce: "James Joyce, Paris, 9. ix. 1924" on the front endpaper following the front blue wrapper. Joyce's Signature has been authenticated by Glenn Horowitz of NYC. Volume I contains 370 pages. Volume II begins on page 371 and and ends on p. 732 with the "Trieste-Zurich-Paris, 1914-1921" dateline. The next page is printed in capital letters: "Printed for Sylvia Beach by Maurice Darantiere at Dijon, France." The rear wrapper is not present at the end of volume two. Both volumes have been specially bound in full leather with 4 gilt rectangular rules and a delicate inner rectangle of hand-tooled chain patterns culminating in larger floral designs at the inside corners of the front and rear boards. Both front boards bear the name of "JOAN" in vertical gilt capital letters. The spine of volume I is missing 6" of the 9.5" of the spine length, but the top portion with "I" is present. The front blue wrapper printed in White with "Ulysses" by James Joyce is clean and crisp, as is the text throughout volumes one and two. The top edges are gilded. And there are predominantly orange and grey marbled endpapers. There is hand-tooled dentelle gilding along the front and rear inside edges of the boards as well. Both volumes have some pencil scrawlings on the front endpapers, but nothing affecting the text. Despite the unusual two-volume format and the missing rear wrapper, modern first edition authority Allen Ahearn opined that this signed and dated copy in Joyce's hand of one of the 750 specially printed first editions is perhaps as scarce as one of the 100 signed copies, given that none of the 750 copies was issued with Joyce's signature. This copy was signed and dated two years after publication in 1924. This edition is limited to 1000 copies: 100 copies (signed) on Dutch handmade paper numbered from 1 to 100; 150 copies on vergé d'Arches numbered from 101 to 250; 750 copies on handmade paper numbered from 251 to 1000. This is copy No. 389. "The publisher asks the reader s indulgence for typographical errors unavoidable in the exceptional circumstances. S.B." In a review in The Dial, T.S. Eliot said of Ulysses: "I hold this book to be the most important expression which the present age has found; it is a book to which we are all indebted, and from which none of us can escape." He went on to claim that Joyce was not at fault if people after him did not understand it: "The next generation is responsible for its own soul; a man of genius is responsible to his peers, not to a studio full of uneducated and undisciplined coxcombs." The book has its critics; Virginia Woolf stated that "Ulysses was a memorable catastrophe immense in daring, terrific in disaster." Ulysses has been called "the most prominent landmark in modernist literature", a work where life's complexities are depicted with "unprecedented, and unequalled, linguistic and stylistic virtuosity." That style has been stated to be the finest example of the use of stream-of-consciousness in modern fiction, with the author going deeper and farther than any other novelist in handling interior monologue. This technique has been praised for its faithful representation of the flow of thought, feeling, mental reflection, and shifts of mood. (Wikipedia) First Edition, One of 750 numbered copies. Signed by Author(s).
Edité par Heinemann, London, 1960
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First British edition of Leeâ s Pulitzer Prize-winning novel. Octavo, original cloth. Signed by both Harper Lee and Truman Capote on the front free endpaper. Truman Capoteâ s friendship with Harper Lee began in the summer of 1929 when the two became next door neighbors in Monroeville, Alabama; both were the age of five. They shared a love of reading and began collaborating when Lee was gifted a typewriter by her father as a child. Lee drew on their friendship as inspiration for the characters Lee and Scout in her masterpiece To Kill A Mockingbird; Capote based his tomboy character Idabel Thompkins in his first novel Other Voices, Other Rooms on Lee. They worked together on Capoteâ s true crime novel, In Cold Blood; Lee acted as his â assistant researchistâ and edited the final draft of the book. Upon its publication in 1965, Capote failed to acknowledge Leeâ s contributions to the book, after which their relationship was never the same. Near fine in a near fine dust jacket with light rubbing and wear to the extremities. Jacket design by Fratini. Exceptionally rare and desirable signed by both Lee and Capote. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).