WILLIAMS GarthABAA
16 854 résultats
1952BBO41<p><b>WILLIAMS</b> Garth:</p><p><b><i>Charlotte's Web</i></b>: <i>"A Director's Meeting"</i>. 1952</p><p>Original ink drawing as reproduced in <i>Charlotte's Web</i> by E B White</p><p>New York: Harper & Bros 1952 illustrated on <b>page 88</b>;</p><p>The image was also used sometimes as the frontispiece in later reprints of this title such as the Anniversary edition.</p><p>Titled in pencil and Signed in full in ink at lower left by the artist.</p><p><br /></p> books
1954346445New York: New Directions 1954. Hardcover. Very Good/Very Good. First edition. Tall octavo. Some soiling and a small stain along the edge of the spine about very good in a worn first issue royal blue slipcase in a custom chemise and quarter morocco clamshell case. The Dedication Copy Inscribed by Tennessee Williams to Paul Bowles at a later date: "To Paul for many years. Tennessee 1962." Both Paul and Jane Bowles have Signed their names beneath the printed dedication: "For Jane and Paul Bowles." Additionally in the upper corner of the flyleaf where Williams' inscription appears Paul Bowles has printed: "Paul Bowles / Jane Bowles / Tangier 1954." About the time of Williams' inscription Bowles had recently completed the musical score of Williams' play The Milk Train Doesn't Stop Here Anymore. Presumably the best copy of this title in the world. New Directions hardcover
1956140946196San Francisco: City Lights Pocket Bookshop 1956. First Edition. Very Good. First edition first issue with Lucien Carr listed on the dedication page and a period after Harlem on the rear cover. Signed by Allen Ginsberg on the title page and inscribed "Allen Ginsberg - Dec. 15 1975 G.B.M. - for Kirby Congdon - Ah." with doodles of a smiling sun and flower. Publisher's black wraps printed in blue with white wraparound printed in black. Very Good with light toning foxing and staining. Minor toning to contents. <p>An important association copy of this undisputed cornerstone of Beat poetry Ginsberg's initial inspiration came from a terrifying vision he had during a San Francisco peyote trip. Inscribed warmly to fellow poet Kirby Congdon 1924-2023. Like Ginsberg Congdon was openly gay at a time when few people dared to be and was a flamboyant motorcyclist and leather aficionado who mingled regularly in the Beat community. He published Interim Books Cycle Press and the lit mag Magazine eventually returning to Key West Florida and becoming its first poet laureate. City Lights Pocket Bookshop unknown
192237252New York & London: George H. Doran & Heinemann 1922. First edition. Fine in very good plus jacket. First printing US issue in a variant likely trial UK jacket of the beloved children's classic. This book captures the wistful attachment to our childhood toys through the story of a stuffed rabbit that hopes the love of its owner can make it real. It is one of the great collaborations in modern children's books with the lithographs and the text equally invoking bittersweet affection: "You were Real to the Boy . because he loved you." Later printings did not use lithography to produce Nicholson's drawings making the first printing especially distinctive in the quality of its lustrous illustrations. This is a remarkable copy of "one of the first modern picture books a perfect combination of story and pictures" Mahony. <br /> <br /> Scarce even moreso in an unrestored dust jacket and especially in this variant. The US first was typically issued with UK jackets but we've only been able to trace this variant printed in a single color lacking the Heinemann logo at the bottom on the spine and with an entirely blank rear panel to one other copy. That copy appeared at Christie's in 1998 where they described it as a "rare variant or trial" jacket. That copy sold for almost $15000 and remains even today the highest price any edition of this book has achieved at auction. 9.5'' x 7''. Original pictorial paper boards. Original unclipped no price variant pictorial dust jacket printed in single color no logo on spine blank rear panel. Color pictorial rabbit endpapers. Illustrated with 4 full-page and 3 double-page color lithographs. 8 19 1 pages. Housed in a custom full leather clamshell box. Except for a very slight bit of rubbing to head of spine the book is in truly fine condition in bright and clean pictorial dust jacket with 1'' chip at foot of spine some mild fraying at folds and a few short closed tears. George H. Doran & Heinemann unknown
1939150074c. 1939-1940. Rare original black and white photograph of legendary American writer Ernest Hemingway and his third wife Martha Gellhorn. Black and white vintage gelatin silver print of Hemingway pointing towards the distance with one arm and the other wrapped around Martha Gellhorn. Inscribed by Ernest Hemingway in black ballpoint to the middle left "For Taylor my pal Ernie." Inscribed above by Martha Gellhorn "For Taylor - Love Marty." The recipient was Hemingway’s great friend Taylor “Beartracks†Williams the well-known Sun Valley hunting and fishing guide. Hemingway’s friendship with Williams dated back to their meeting in Idaho in the late 1930s after which Hemingway frequently returned to Ketchum before eventually settling there. Ernest Hemingway and Martha Gellhorn met in December 1936 and soon began working alongside one another as correspondents traveling to Spain in 1937 to report on the outbreak of the Spanish Civil War. At the time still married to his second wife Pauline Pfeiffer Hemingway divorced in 1939 the same year he and Gellhorn first visited Ketchum; they married the following year. During this period Gellhorn filed reports from Spain for Collier’s while Hemingway published For Whom the Bell Tolls 1940 a novel partly written in Ketchum and illustrated on its dust jacket with a photograph of him at his typewriter taken there. In 1941 the couple traveled to China on assignment for Collier’s and returned again to Ketchum before their marriage ended in divorce in 1945. In near fine condition with with light creasing to the extremities. Triple matted and framed. The photograph measures 9.375 inches by 9.375 inches. The entire piece measures 16.5 inches by 16.5 inches. Ernest Hemingway 1899–1961 was one of the most influential American writers of the 20th century whose concise prose style and exploration of universal themes reshaped modern literature. Known for his works such as The Old Man and the Sea A Farewell to Arms and For Whom the Bell Tolls Hemingway developed a narrative voice that captured the complexities of human struggle and resilience with stark simplicity. His experiences as a journalist and participant in both World Wars deeply informed his writing lending authenticity to his depictions of courage loss and alienation. While his personal life marked by adventure and tragedy often overshadowed his literary contributions his stylistic innovations and engagement with existential themes solidified his status as a transformative figure in American letters. By pushing the boundaries of narrative form and emphasizing the power of understatement Hemingway left an enduring legacy on both literature and the cultural understanding of the human condition. unknown
1960467082New York 1960. Unbound. Near Fine. Three Typed Letters Signed by playwright Tennessee Williams sent to director George Roy Hill along with nine Typescript Draft Pages with corrections for Williams’ play Period of Adjustment. Overall very good with typical folds for mailing and a few stains housed in a custom cloth clamshell case with black morocco spine label gilt.<br /> <br /> In 1960 Tennessee Williams was busy developing The Night of the Iguana while also working on a new somewhat uncharacteristic play Period of Adjustment. A departure from his usually dark dramas Period of Adjustment was instead what Williams called “a serious comedy.†Elia Kazan was originally tapped to direct the play but was forced to withdraw due to film commitments so a young actor and theater director George Roy Hill stepped in. The play opened in November 1959 running for 132 performances and in 1962 MGM Pictures asked Hill to direct the film version in what would be his directorial screen debut. The resulting film starred Jane Fonda in one of her first leading roles and garnered generally favorable reviews. Hill subsequently became a prolific director of films including Thoroughly Modern Millie 1967 Butch Cassidy and the Sundance Kid 1969 and The Sting 1973 for which he was awarded the Academy Award for Best Director.<br /> <br /> These three letters and typescript draft pages provide insight into the working relationship between Williams and Hill as well as their personal connection. The pages of the script differ markedly from the final printed version of the play and between these drafts and the discussions evident in the letters this material is also a depiction of Williams’ creative and collaborative process.<br /> The archive consists of:<br /> <br /> 1. Typescript draft pages for the play Period of Adjustment. Undated 1960. Nine quarto leaves seven typed on letterhead of the Warwick Hotel Philadelphia typed rectos only with autograph annotations and emendations in pencil and ink in Williams’ hand throughout. These draft excerpts are rewrites of the Act I curtain and the opening of Act II. Annotations include dialogue changes and cuts as well as stage directions.<br /> <br /> 2. Typed Letter Signed “Tenn†September 1960. Quarto. On letterhead of the Sheraton-Charles Hotel New Orleans; written on recto only. Williams writes to Hill about the Miami preview performance of his new play The Night of the Iguana which he says “has left me with a bit of a trauma… .†Williams had just returned from some time off in Havana where he worked on a rewrite and after a stop in his “old turf in New Orleans†He was heading back to New York to meet with Hill about the new script for the film version of Period of Adjustment. Williams also discusses casting for Period deferring to Hill’s opinion on the choice for the female protagonist.<br /> <br /> 3. Typed Letter Signed “Tenn†no date 1960. Quarto. Typed recto only with autograph postscript and date “Monday P.M.â€. Williams consoles Hill after having chosen Frank Corsaro to direct The Night of the Iguana as well as not mentioning Hill the night before on David Susskind’s television show Open End both apparently perceived by Hill as slights. Williams explains that he selected Corsaro long before he and Hill became acquainted and his omission of Hill in his Open End remarks were attributable to his need to patch up a misunderstanding with Elia Kazan. Williams referring to Kazan by his nickname: “Baby I thought you knew that Gadg became very angry with me because he had been attacked for distorting my plays and I had not come to his defense.†He explains he had taken this opportunity on Susskind’s show to make a “public refutation†and praise Kazan though he acknowledges to Hill he “should have made some reference to the truly happy and gratifying experience I have had with you as director†of Period of Adjustment. The autograph postscript reads: “I notice you sent the wire at 3:00 A.M. — I was stoned too.â€<br /> <br /> 4. Typed Letter Signed “Tenn†no date 1960. Quarto. Two leaves typed rectos only. Williams responds to Hill’s recent letter discussing Period of Adjustment: “I must say at once it shows the best comprehension of a playwright’s intentions and well as the keenest analysis of the play’s problems I have ever had from a director…. It gives me a tremendous sense of relief and security.†He continues to extensively discuss the casting of the play as well as some ongoing rewrites and edits. unknown
1922138402London: Heinemann 1922. First edition English issue published simultaneously with the American issue of this beloved children’s classic “one of the first modern picture books a perfect combination of story and pictures†Mahony 234 with seven beautiful color illustrations by William Nicholson. Quarto original paper-covered pictorial boards and cloth spine pictorial endpapers illustrated with seven color illustrations three double-page by William Nicholson. In very good condition. Uncommon. “Margery Bianco’s first children’s book The Velveteen Rabbit was written while she was living in England… Her own two children were young and at an age when toys meant much to them. She had vivid memories of the toys she had loved as a child and this thinking about toys and remembering toys suddenly brought them to life. The Velveteen Rabbit introduced English artist William Nicholson to the field of children’s books†Meigs et al. 473. Nicholson’s work has been placed “in the front rank among picture-books of this century†Marcus Crouch. Heinemann hardcover
1945VBF40<p><b>WILLIAMS</b> Garth 1912–1996</p><p><i><b>Stuart Little – Endpaper Designs</b></i> 1945</p><p>Pencil and ink conceived for the endpapers with china white</p><p>Two designs: Stuart Little on the river bank his right leg on a log his boat docked behind him; the other: a view of the winding river seen from the perspective of a perched bird.</p><p>Each drawing measures 5-1/2 x 4-1/2 inches on larger paper framed.</p><p>Well-rendered designs bordered by paneled margins executed in ink for the endpapers of the first edition of <i>Stuart Little</i> by E B White</p><p>The published version prints these images in reverse in the color green.</p> Harper & Bros books
194750392New York: New Directions 1947. First edition. Near fine in a near fine jacket. Signed first printing of Williams's most enduring play a beautiful copy in the iconic Lustig-designed dust jacket. The broken dreams of a Southern belle are dramatized in Williams's best known play a hit on Broadway with Jessica Tandy and Marlon Brando in the lead roles both then virtually unknown. After its brilliant run on stage STREETCAR went through a groundbreaking adaptation into film keeping many of the same people involved: Brando garnered his first Oscar nomination in the film starring alongside Vivian Leigh. According to Geoffrey Shurlock who was involved in the Production Code Administration that monitored the morality of motion pictures STREETCAR changed the landscape of how films could communicate drama for adult audiences: "Tennessee Williams was something new to movies. The stage got a shock from Tennessee Williams. We got twice the shock. Now we know that a good deal of what we decide in censoring movies is not morality but taste. It began with STREETCAR" quoted in Palmer and Bray. This first edition has since become famous in its own right for the brilliant pink jacket design by Alvin Lustig a high point of New Directions' publications. 9'' x 6''. Original pink pictorial boards with design by Alvin Lustig. In original unclipped $2.75 pink pictorial dust jacket echoing board design. 171 1 pages. Signed by Williams on front free endpaper. Book with mild rubbing to top and bottom edges as typical. Tiny chip to top edge of front panel of jacket. Some faint uneven sunning to spine front and rear panel. Top edge a little dusty. Else clean and bright. New Directions unknown
19471003721New York: New Directions 1947. First edition of A Streetcar Named Desire Tennessee Williams's first play to win the Pulitzer Prize signed by the entire original cast including Jessica Tandy Marlon Brando Kim Hunter and Karl Malden. Produced by Irene Mayer Selznick and directed by Elia Kazan the original stage production opened in New Haven on October 30 1947: the program for that first performance is present here with three ticket stubs from the Shubert Theatre. The show then moved to Boston and Philadelphia before arriving on Broadway where Tandy would win the Tony for her performance as the fragile self-deluding Blanche DuBois: "Whoever you are - I have always depended on the kindness of strangers." Wolcott Gibbs in a rave review for The New Yorker regretted that "there is no way . . . to convey the effect Mr. Williams achieves in his last act of a mind desperately retreating into the beautiful crazy world it has built for itself." A wonderful association copy with related ephemera from the very first performance of A Streetcar Named Desire. Single volume measuring 9 x 6 inches: 171 1. Original pink pictorial paper boards original unclipped pink pictorial dust jacket designed by Alvin Lustig. Ink signatures of the original cast beside their printed names on page 5; former owner's signature to front free endpaper. Shelfwear to boards jacket spine panel sunned restoration and light soiling to jacket. With: original program from the October 30 1947 premiere at New Haven's Shubert Theatre with three opening night ticket stubs mounted to upper wrapper. Faint tidemark to rear wrapper of program. Book and program housed together in custom clamshell box. New Directions unknown
19471152New York: New Directions 1947. First Edition. Fine. The most famous post–modern American play. Fine in publisher’s pink boards and near fine matching pink dustjacket a superb copy. Cover and jacket design by Alvin Lustig. Reference: Crandell A 5.1.a. Basis of the play and then the motion picture classic both directed by Elia Kazan and both starring Marlon Brando Kim Hunter and Karl Malden Vivian Leigh replaced Jessica Tandy in the film. The play won the Pulitzer Prize. Brando Leigh and Hunter won Oscars for their performances in the film. Custom half morocco box. A pivotal work in American theater marking a decisive shift in mid-century dramatic sensibilities through its unflinching portrayal of class conflict sexuality and psychological fragility beneath the veneer of post-war American society. The play's exploration of Blanche DuBois' tragic collision with Stanley Kowalski's brutal realism illuminates the broader cultural tensions between fading Southern aristocracy and emerging industrial working-class values at a moment when American identity was being profoundly reconfigured. Williams' innovative use of expressionistic techniques—including the haunting blue piano symbolic lighting and poetic dialogue—revolutionized theatrical language while his courageous engagement with previously taboo subjects such as mental illness homosexuality and sexual violence challenged the boundaries of censorship during an era of rigid social conformity. Through its visceral emotional impact and psychological complexity "Streetcar" helped establish American drama as a serious literary form capable of confronting the deepest contradictions of the human condition ultimately serving as a bridge between Tennessee Williams' own Southern Gothic sensibilities and the psychological realism that would come to dominate American theater in subsequent decades. New Directions unknown
19462118New York: New Directions 1946. First edition. Original cloth original dust jacket. Fine/Fine. FIRST EDITIONS AN OUTSTANDING ASSOCIATION COPY: 
Theodore Roethke's copies of Books III and V with Book III inscribed in Roethke's hand "Ted Roethke's book gift of W.C. Williams" and Book V inscribed by Williams "Ted from Bill". With first editions of the remaining volumes. William Carlos Williams was one of the most influential figures in Theodore Roethke's creative life. "At a time when Theodore Roethke was finding his poetic voice he called William Carlos Williams 'my toughest mentor.'" From 1940-1948 as Roethke was developing his poetry he submitted his latest work to Williams to critique. Williams repeatedly responded candidly and forcefully issuing "a series of challenges to Roethke and these challenges changed the direction and scope of Roethke's art" Robert Kusch "My Toughest Mentor": Theodore Roethke and William Carlos Williams. Roethke's own volumes of Paterson - Williams's masterpiece - must have held extraordinary significance for him and unite two of the towering figures in American poetry. Each first edition of Paterson had a very limited print run: Books I-IV one of only 1000 copies Book V one of 3000 copies. New York: New Directions 1946-1958. Tall octavo original cloth original dust jackets. A fine set with only the most trivial wear. New Directions hardcover books
1938148498Cambridge: Harvard University Press 1938. An investment classic very rare in the jacket First edition first printing of a major and influential text in investment theory; very scarce on the market and especially so preserving the dust jacket. "The author of an insufficiently appreciated classic Williams was one of the first economists to interpret stock prices as determined by 'intrinsic value' that is discounted dividends" Rubinstein. Based on Williams's 1937 Harvard PhD dissertation the work "developed the dividend discount model based on Fisher's concepts of the present value of a discounted stream of expected receipts and rate of return over costs.Williams's model implied that a rational investor should buy only the security with the highest rate of return" Dimand p. 49. Octavo. With 5 folding tables. Original red cloth blindstamp rule border to covers spine lettered gilt with dust jacket. A fine copy in very good jacket minor chips and short closed tears at extremities small chip to front fold lightly toned and soiled. Dennistoun and Goodman 497; Larson 1969; Rubinstein A History of the Theory of Investments p. 75. See Robert W. Dimand in Poitras ed. Pioneers of Financial Economics volume 2. hardcover
1949D16273New York: New Directions 1949. First Edition. Hardcover. Very Good. First printing first state with the incorrect copyright page "Copyright 1948 / New Directions". One of 20 to 50 copies thus out of a total of 1500 copies printed on laid paper by Peter Beilenson. "Originally scheduled for release of 27 October 1948 One Arm was not published until January the following year because of an error on the copyright page.Between late October and January 1949 New Directions attempted to recover and correct all copies with the incorrect copyright notice.According to James Laughlin of New Directions and Andreas Brown however between 20 and 50 copies escaped correction." Crandell A9.I.a1. This is author Paul Bowles's copy with Williams's presentation inscription on the front flyleaf" "To Paul and Morocco - With Love Tennessee." Williams has inscribed the book again at a later date on the front free endpaper: "Many hands all empty on the covers meaning what Tennessee to Paul Tangiers 1962." With Bowles's signature on the front free endpaper. One loose signature with the corrected copyright page is laind in. Foreedge a little soied spine a little cocked covers slightly rubbed otherwise a fine copy in broken publisher's slipcase. A wonderful association copy preserved in a custom-made folding cloth box. <br/><br/>In December of 1948 Jane Bowles left Tangier and went to Gibraltar to meet her husband Paul Tennessee Williams and Frank Merlo Williams's lover. The three of them were arriving on the SS Saturnia. Williams brought with him his new Buick Roadster and the four of them toured Spain for a few days before crossing the straits to Tangier. The weather in both Spain and Tangier was rainy and after two weeks in Tangier the group headed to Fez. See An Invisible Spectator - A Biography of Paul Bowles by Christopher Sawyer-Laucanno Weidenfeld & Nicolson NY 1989 pages 280-1. Although Williams visited Tangier on several occasions it seems quite possible that Williams first inscribed tghe book on this visit. Subsequent visits took place in the 50's and 60's. New Directions hardcover books
194722908New York: New Directions 1947. First edition. Pink boards; virtually as new in dust jacket unfaded and with no wear. One of the fabled Norman Unger copies purchased new by Williams's friend the book collector Unger then wrapped and stored for 30 years. Cover and jacket design by Alvin Lustig. Crandell A 5.1.a. <br/><br/> New Directions hardcover books
1949D16273New York: New Directions 1949. First Edition. Hardcover. Near Fine. First printing first state with the incorrect copyright page "Copyright 1948 / New Directions". One of 20 to 50 copies thus out of a total of 1500 copies printed on laid paper by Peter Beilenson. "Originally scheduled for release of 27 October 1948 One Arm was not published until January the following year because of an error on the copyright page.Between late October and January 1949 New Directions attempted to recover and correct all copies with the incorrect copyright notice.According to James Laughlin of New Directions and Andreas Brown however between 20 and 50 copies escaped correction." Crandell A9.I.a1. This is author Paul Bowles's copy with Williams's presentation inscription on the front flyleaf" "To Paul and Morocco - With Love Tennessee." Williams has inscribed the book again at a later date on the front free endpaper: "Many hands all empty on the covers meaning what Tennessee to Paul Tangiers 1962." With Bowles's signature on the front free endpaper. One loose signature with the corrected copyright page is laid in. Ever so slightly cocked covers a bit rubbed otherwise a fine copy in publisher's slipcase defective. A wonderful association copy preserved in a custom-made folding cloth box. <br/><br/>In December of 1948 Jane Bowles left Tangier and went to Gibraltar to meet her husband Paul Tennessee Williams and Frank Merlo Williams's lover. The three of them were arriving on the SS Saturnia. Williams brought with him his new Buick Roadster and the four of them toured Spain for a few days before crossing the straits to Tangier. The weather in both Spain and Tangier was rainy and after two weeks in Tangier the group headed to Fez. See An Invisible Spectator - A Biography of Paul Bowles by Christopher Sawyer-Laucanno Weidenfeld & Nicolson NY 1989 pages 280-1. Although Williams visited Tangier on several occasions it seems quite possible that Williams first inscribed tghe book on this visit. Subsequent visits took place in the 50's and 60's. New Directions hardcover
194722908New York: New Directions 1947. First edition. Pink boards; very fine in dust jacket unfaded and with no wear. One of the fabled Norman Unger copies purchased new by Williams's bibliophilic friend the book collector Unger then wrapped and stored for 30 years. Cover and jacket design by Alvin Lustig. Crandell A 5.1.a. New Directions unknown
1922115719New York: George H. Doran 1922. 1st Edition 1st Printing. Hardcover. Fine/No Jacket. 4to - over 9¾ - 12" tall. Nicholson William. A rare copy in fine condition of the first edition of the children's classic "The Velveteen Rabbit" by Margery Williams illustrated by William Nicholson. The paper covered boards with Nicholson's illustrations to the covers. The pictorial endpapers are a colorful riot of many many bunnies. There are 19 pages of text four full-page color illustrations and three double-page illustrations. The illustrations and the text are bright. This first edition is the American issue printed in Great Britain with English sheets with Whitefriar's Press annotation on verso of last page. Published in 1922 by George H. Doran New York and Heinemann London. Quarto 9 ½ by 7 ¼ .The author Margery Williams Bianco was born in London and at the age of seven moved with her family to the United States. The yellow paper-covered boards have a bit of rubbing and chipping along the top and bottom edges. There is no dust jacket. The book is protected by a custom brown cloth-covered clamshell case. There are no bookplates no tears no foxing. The hinges are sound and the binding is tight. This is a rare book in fine condition. The only markings are small pencil notations by a previous bookseller. See photos. <br/> <br/> George H. Doran hardcover
1925170265New York: George H. Doran Company 1925. The rarest Rackham Deluxe edition number 23 of 105 copies signed by the author. Unlike many of Rackham's deluxe editions this one was not signed by him nor was it issued in the UK in a deluxe version. This is the rarest of all Rackham limited editions. A contemporary review of the UK edition stated "the wonderful story of the wonderful wooden dog who was the jolliest toy in the house until he went out to explore the world is much above the ordinary. Miss Bianco. is fortunate to have her work illustrated by such a master-hand as that of Mr Rackham. His full-page plates in colour are a delight". Quarto. Colour frontispiece and 6 colour plates with captioned tissue guards black and white illustrations in the text all by Rackham. Original blue boards with vellum backstrip gilt-lettered black morocco label. Original slipcase. Housed in a custom black morocco-backed folding box. Slight toning to spine corners very slightly bumped trace of sunning to extremities slipcase professionally restored with new sections and adhesive tape marks: a near-fine copy in a good slipcase. Latimore & Haskell pp. 59-60; Riall p. 155. Saturday Review of Politics Literature Science and Art 19 December 1925 p. 748. hardcover
1945013757New York: Random House 1945. First Edition. Hardcover. Bottom corners of the book frayed with the board exposed a little. The dustwrapper has light chipping along the top and bottom edges but presents quite well. Very Good in a Good or better dustwrapper. Bound in the publisher's coarse dark reddish-orange cloth one of three bindings with no priority established among them. Crandell A1.I.a. Illustrated with a frontispiece photograph from the original production. Only 5000 copies of this high spot of twentieth century drama were published. This copy is INSCRIBED and SIGNED by the author on the front endpaper "To Marshall/ever/Tennessee Williams." Marshall New was one of the directors at the Hippodrome Theatre in Gainesville Florida in 1979 when Williams visited a week to see a production of his obscure play TIGER TAILS which had its world premiere the previous year in Atlanta. <br/><br/> Random House hardcover
1925113178New York: George H. Doran Company 1925. THE RAREST LIMITED RACKHAM Deluxe edition number 78 of 105 copies signed by the author. Unlike many of Rackham's deluxe editions this one was not signed by him nor was it issued in the UK in a deluxe version. This is the rarest of all Rackham limited editions. Quarto. Colour frontispiece and 6 colour plates mounted and with captioned tissue guards black and white illustrations in the text by Rackham. Original vellum spine gilt-lettered black morocco label cornflower blue sides. Housed in a fleece-lined blue quarter morocco solander box. Sides very slightly faded along top edges small neat ink blot at foot of front free endpaper. A lovely copy. Latimore & Haskell pp. 59-60; Riall p. 155. hardcover
194787896New York: New Directions 1947. Early printing of Williams' classic play which won the Pulitzer Prize for Drama in 1948. Octavo original illustrated boards. association copy inscribed or signed by several cast members for producer Danny Selznick. Signed by Marlon Brando Kim Hunter Jessica Tandy and Karl Malden. Inscribed by Kim Hunter on the verso of the first blank: "Love and best wishes always Danny- one of my Favorite people- Kim." Selznick's ownership inscription on the lower corner of the half-title page. Danny Selznick is a producer and the youngest son of David O. Selznick; it was Selznick's mother Irene Mayer Selznick who produced the stage version of Streetcar Named Desire<i>;</i> it was she who recommended to film producer Charles Feldman to cast Kim Hunter in the screen version. Very good in a very good price-clipped dust jacket. Jacket design by Alvin Lustig. Housed in a custom half morocco clamshell box. Rare and desirable signed by Brando and the other cast members. A Streetcar Named Desire received the Pulitzer Prize for Drama in 1948. The play opened on Broadway on December 3 1947 and closed on December 17 1949 in the Ethel Barrymore Theatre. The Broadway production was directed by Elia Kazan and starred Marlon Brando Jessica Tandy Kim Hunter and Karl Malden. The London production opened in 1949 with Bonar Colleano Vivien Leigh and Renee Asherson and was directed by Laurence Olivier. "No one dared approach this new thing without caution. They had just witnessed something unprecedented on the stage a high-pitched jagged alarming--and comical!--drama structure" Sam Staggs. It is often regarded among the finest of American plays of the 20th century. New Directions hardcover books
194787896New York: New Directions 1947. Early printing of Williams' classic play which won the Pulitzer Prize for Drama in 1948. Octavo original illustrated boards. association copy inscribed or signed by several cast members for producer Danny Selznick. Signed by Marlon Brando Kim Hunter Jessica Tandy and Karl Malden. Inscribed by Kim Hunter on the verso of the first blank: "Love and best wishes always Danny- one of my Favorite people- Kim." Selznick's ownership inscription on the lower corner of the half-title page. Danny Selznick is a producer and the youngest son of David O. Selznick; it was Selznick's mother Irene Mayer Selznick who produced the stage version of Streetcar Named Desire; it was she who recommended to film producer Charles Feldman to cast Kim Hunter in the screen version. Very good in a very good price-clipped dust jacket. Jacket design by Alvin Lustig. Housed in a custom half morocco clamshell box. Rare and desirable signed by Brando and the other cast members. A Streetcar Named Desire received the Pulitzer Prize for Drama in 1948. The play opened on Broadway on December 3 1947 and closed on December 17 1949 in the Ethel Barrymore Theatre. The Broadway production was directed by Elia Kazan and starred Marlon Brando Jessica Tandy Kim Hunter and Karl Malden. The London production opened in 1949 with Bonar Colleano Vivien Leigh and Renee Asherson and was directed by Laurence Olivier. “No one dared approach this new thing without caution. They had just witnessed something unprecedented on the stage a high-pitched jagged alarming—and comical!—drama structure†Sam Staggs. It is often regarded among the finest of American plays of the 20th century. New Directions hardcover
1925164847New York: George H. Doran Company 1925. The rarest Rackham Deluxe edition number 12 of 105 copies signed by the author. Unlike many of Rackham's deluxe editions this one was not signed by him nor was it issued in the UK in a deluxe version. This is the rarest of all Rackham limited editions. Quarto. Colour frontispiece and 6 colour plates with captioned tissue guards black and white illustrations in the text all by Rackham. Original vellum spine gilt-lettered black morocco label cornflower blue covers. Very slight toning to spine extremities of covers slightly sunned minor tear at head of front hinge slight splitting to rear hinge; a near-fine copy. Latimore & Haskell pp. 59-60; Riall p. 155. hardcover
1945140944723New York: Random House 1945. First Edition. Near Fine/Near Fine. First edition first printing. Signed by Tennessee Williams on the title page. xii 124pp. Bound in publisher's original brick red cloth with gilt lettering on spine black border. Near Fine with slight dulling to spine gilt former owner details to front free endpaper and pages lightly tanned. In a Near Fine unclipped $2.00 dust jacket with fading to the spine and light edge wear. A lovely copy signed by the playwright. Random House unknown
