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199848203HEYNE WILHELM 1998-99. 1. softcover. Per Anhalter durch die Galaxis HEYNE, WILHELM paperback
193710590London: Arthur Baker Limited 1937. First Edition First Printing of the Small Paper Issue with 20 gorgeous color illustrations by the author including the frontispiece. Original green cloth-covered boards with black lettering on spine. Minor sunning to spine ends and along a small section of the bottom edge of the front board. Some faint foxing to contents and textblock edges with offsetting to rear free endpaper. Boards slightly bowed. In the original unrestored price-clipped pictorial dust jacket. Dust jacket faintly foxed and lightly soiled. Spine panel a tad darkened though lettering remains bright. Small chip at head of spine with short closed tear along top edge of rear panel. Better than Very Good in a Very Good dust jacket. A nicely preserved copy of this scarce title especially so in the dust jacket. This edition not in Cotsen.<br /> <br /> In The Tale of the Land of Green Ginger Langley blends fairytale adventure satire and playful language into a witty whimsical children's classic following the exploits of Abu Ali the son of Emperor Aladdin. It was largely due to the success of this book that Langley was selected as one of the screenwriters to adapt L. Frank Baum's The Wonderful Wizard of Oz into the 1939 film The Wizard of Oz.<br /> <br /> Cotsen 10198 for the U.S Edition. Arthur Baker Limited unknown
19640010796Doubleday 1964. First Edition. Hardcover. Very Good. Doubleday hardcover
1954142898Hollywood: Paramount Pictures 1954. Final White script for the 1956 film. Director Michael Curtiz's Specially bound copy in tan leather with gilt titles and Curtiz's name at the bottom right corner of the front board. <br /> <br /> An adaptation of the 1925 operetta of the same name by Rudolf Friml which is based on Justin Huntly McCarthy's 1901 romantic novel and play "If I Were King." <br /> <br /> Set in France in the year 1461. <br /> <br /> Brown leather covered boards titles in gilt. Title page present dated December 9 1954 with credits for producer Pat Duggan director Michael Curtiz screenwriter Ken Englund. 114 leaves with last page of text numbered 96A. Mimeograph duplication with blue and goldenrod revision pages throughout dated variously between 12-15-54 and 2-9-55. Pages Near Fine binding Very Good plus with some wear at the edges. Paramount Pictures unknown
1925W1914New York: Unpublished 1925. Original photograph by the Australian-American photographer Anton Bruehl 1900-1982. A vintage circa 1925 gelatin silver print mounted on cardstock. 7 1/2 inches by 5 1/2 inches. The photograph is unsigned but the composition of the still-life photo clearly is Bruehl's. From the same collection we have a signed photo that matches the size backing and printing of this one. In 1919 the Australian born Bruehl along with his brother and parents emigrated to the United States where he worked for Western Electric as an electrical engineer until an exhibition of Clarence H. White's photographs persuaded him to change professions. In 1924 he enrolled in White's photography school and by the next year was hired to teach in the school. In a 1976 article for Image magazine landscape photographer Joe Deal observed that "Anton Bruehl's background in engineering and love of machine forms in combination with his training under Clarence White resulted in still life photographs which give the satisfaction of well-resolved formal problems and portraits choreographed with the rhythm and movement characteristic of the age." The early photograph offered here already displays the combination of formalism with inventiveness that was characteristic of Breuhl's later color photographs for Vogue and Vanity Fair. It is easy to imagine that photographs like this one were responsible for Ansel Adams' observation that Bruehl's work was "entirely contrived and yet absolutely sincere." Bruehl's early black and white still-life photographs are much more scarce than his later color images and they seldom come on the market. The photograph is clean and bright with 3 crease lines that were probably made when the photo was affixed to the backing. The verso of the backing has some old glue stains. First Edition. Single Sheet. Very Good. Illus. by Anton Bruehl. 7 1/2" X 5 1/2". Photo. Unpublished
1931539146Garden City: Doubleday Doran & Company Inc 1931. Hardcover. Very Good. First edition. Green cloth gilt. Spine sunned rendering the lettering difficult to read very good lacking the dust jacket. George Cukor's copy with his small Paul Landacre-designed bookplate. Inscribed by Coward to Cukor: "Dear George with my love Noel. Doubleday, Doran & Company, Inc hardcover
19533554907250881953. First Edition. Signed by Author. Dereham Norfolk : G. Arthur Coleby nd 1953. First UK Edition. SIGNED BY THE AUTHOR. Undated. 1953. A Softback not issued with a dustwrapper. 71 pages. stapled cream card covers lettering in blue fading to edges of spine panel scattered foxing to covers prelims lightly foxed scattered foxing to some page margins. Signed - without dedication - by the author to the title page. Further inscription to reverse of front cover presumably by the Author's wife: "Mary with love and best wishes from Mary & Noel. 1953". A very good copy of an extremely rare item. Collects five ghost stories The Half Legs The Bellarmine Jars "Lot 629" The North Cloister Walk P AIA Johns Blak. This little book is - in our experience - virtually impossible to find. A rare survival. Further photographs available upon request. unknown
193750319Doubleday Doran And Company Inc 1937. Hardcover in slipcase. VG with mild sunning to spine number 19 of 301 signed numbered copies. . Doubleday, Doran And Company, Inc hardcover
1956136690London: William Heinemann Ltd 1956. First edition signed by the author on the front free endpaper. The play was first performed as Island Fling in 1951 in the USA and in London premiered as South Sea Bubble at the Lyric Theatre in 1956. Octavo. Original blue cloth gilt titles to spine. With dust jacket. Head of spine lightly bumped a couple of marks to boards small crease and short closed tear to first blank light foxing to edges and rear endpaper. A very good copy in the foxed dust jacket with gently sunned spine. hardcover
1949825B63London : Arthur Barker 1949. Leather. Very Good Indeed. 7" by 5". Not Stated. A scarce copy of the humorous fiction Somebody's Rocking my Dreamboat with illustrations throughout. A scarce copy of the humorous fiction Somebody's Rocking my Dreamboat by Noel Langley and Hazel Pynegar. Noel Langley was a South-African born novelist playwright screenwriter and director who wrote the screenplay which formed the basis of The Wizard of Oz.With two illustrations. Collated complete. Signed by Noel Langley to the front free endpaper: To George and CisWith best wishes Noel 49 In full calf binding. Externally smart with some light marks to the spine. Signed by one of the authors to the front free endpaper. Internally firmly bound with bright and clean pages. Very Good Indeed Arthur Barker hardcover
198120693ROGNER & BERNHARD 1981. Österreich!. softcover. Per Anhalter durch die Galaxis ROGNER & BERNHARD paperback
1929191445London: Fanfrolico Press 1929. First edition thus signed limited issue number 26 of 30 copies printed on Japanese vellum and signed by the mystic symbolist illustrator Frederick Carter 1885-1967. Manfred is a supernatural closet drama described by one contemporary reviewer as Byron's "secret and unhallowed studies of Sorcery and Magic" Rutherford p. 116. Carter collaborated with Austin Osman Spare on automatic drawing and the journal Form. His book Dragon of Revelations 1932 inspired D. H. Lawrence's Apocalypse which Carter also illustrated. Quarto. With four plates and illustrations throughout printed in black and purple. Original vellum flat spine lettered in gilt gilt fillet to boards enclosing vignette to front board edges gilt. Romantic gift inscription dated 1932 quoting Byron to front flyleaf. Vellum minimally soiled one gathering proud. A near-fine copy. Andrew Rutherford Byron: The Critical Heritage 1970. hardcover
1929178351London: Martin Secker 1929. His romantic operetta inscribed to the show's producer First edition presentation copy inscribed by Coward on the front free endpaper to the impresario Charles B. Cochran who produced the play's original production: "For Cockie with my gratitude and affection. My help in ages past my hope in years to come. Noël. 1929". Beginning with the revue On With the Dance 1925 Coward and Cochran collaborated on several successful productions over the next decade including This Year of Grace 1926 Private Lives 1930 and Cavalcade 1931. The original production of Bitter Sweet directed by Coward opened on 2 July 1929 at the Palace Theatre Manchester before the London premiere at His Majesty's Theatre on 18 July. Cochran's bookplate is on the front pastedown. Though unmarked as such this copy later passed into the theatre collection of Clive Hirschhorn b. 1940 the film and theatre critic for the Sunday Express for over three decades. Octavo. Original grey cloth spine label printed in black and red. With dust jacket. Faint marks to cloth label rubbed and browned contents lightly toned but clean; jacket unclipped rubbed extremities a little worn with some loss to head of spine and a couple of short closed tears to rear panel: a very good copy in good jacket. hardcover
1931193009London: William Heinemann Ltd 1931. First edition inscribed by the author on the front free endpaper "For Joe From Noel 1931". The play was written at the height of Coward's dramatic power but went unperformed in his lifetime. "By the early thirties Coward's increasingly mature work and its critical and popular success had established him as probably the most important dramatist of his day. Virginia Woolf flattered by his attentions professed to have fallen 'in love' with the playwright and his work and encouraged him to write more adventurously. The openly gay Semi-Monde 1926 and the anti-war polemic of Post-Mortem 1930 written after his brief appearance in a Singapore production of Journey's End appeared to be Coward's attempt to write up to these expectations" Philip Hoare in ODNB. Octavo. Original purple cloth spine lettered in gilt publisher's device to rear pastedown. With dust jacket. Spine sunned edges a little foxed; jacket unclipped spine toned edges chipped a little soiling to panels previous pencil ownership inscription to front flap: a very good copy in like jacket. hardcover
196555420New York and New Orleans: Lyle Stuart / Loujon Press 1965. First Edition. Near fine. Signed first limited edition - with a drawing by the poet - of this lovely early Bukowski collection printed by the idiosyncratic Loujon Press of New Orleans operated by Jon and Louise Webb. Distributed by Lyle Stuart CRUCIFIX was nominated for the 1966 Pulitzer Prize. Uncommon with both the original band and a drawing. 12.25'' x 8.25''. Original stiff printed printed wrappers covered by illustrated jacket bound at spine with original wrap-around band. Pages multicolored throughout interspersed with four tissue-guarded etchings by Rockmore. From an edition of 3100 copies. 108 pages. Inscribed by Bukowski on leaf opposite colophon: "Charles Bukowski / 3-12-65 / French Quarter / New Orleans / LA. / 4:31 p.m. / drawing of a jockey on a horse." Mild rubbing to extremities. Faint toning. One early page with corner crease. Else bright and sound. Lyle Stuart / Loujon Press unknown
1969144541Los Angeles: Paramount Pictures 1969. Six vintage oversize borderless photographs from the 1969 British film. With manuscript annotations and an agency stamp on the verso of each. <br /> <br /> One of the best heist films of the twentieth century: funny complex and altogether beautiful to watch. Michael Caine and Noel Coward bring the erudite and the cockney together to make a quintessentially British film with as fine an ending as one could ask for. <br /> <br /> 13 x 9 inches. Near Fine. <br /> <br /> Lee The Heist Film. Paramount Pictures unknown
193313543London: The Fortune Press 1933. First Edition Later Variant. Hardcover. Very Good in Very Good Dustjacket. First Edition Later Variant. Hardcover. Originally published in Paris 1588 as "Psichologie ou traite de l'apparition des Esprits.' Father Noel Taillepied was a Franciscan friar; who wrote this study of ghost lore was written to prove the existence of spirits and the afterlife. From the jacket: "There is no other book that so admirably sums up and so intelligently discusses the whole question of supernatural apparitions. Taillepied deals with such points as the Theophanies of the Old Testament the Witch of Endor haunted houses and how they may be cleared somnambulism poltergeists how a man must conduct himself if he encounter a ghost. This is a book no Spiritualist can afford to neglect." However lacking on spine with "Edited by Montague Summers" in gilt which is not found on the later variants. D'Arch-Smith B26. Light shelf/edge wear light creasing toning chipping to dj small closed tear at joint repair head of spine else tight bright and unmarred. Blue cloth boards gilt lettering on spine many pages uncut untrimmed in yellow printed dust jacket. 8vo. xix 263pp. Commentary. Indexes. Page xix is misbound between half-title and tp. The Fortune Press hardcover
1920021223London & New York: Samuel French Ltd. 1920 1925. Early Edition. wraps. Near Fine. Printed green-blue wraps 5-1/2" x 8-1/2"; 71 1 pages plus covers. Coward's First Book and his first play produced in the West End. At the age of 20 he also performed in the role of Bobbie. The play ran for a month at the New Theatre later renamed the Noel Coward Theatre and was also Coward's first play in America. This copy lists two other works by Coward--THE YOUNG IDEA and HAY FEVER--dating this to 1925. SIGNED by the author on the half-title page and scarce as such. <br/><br/> Samuel French, Ltd. paperback
1953021225London: Michael Joseph 1953. First Edition. Hardcover. Near Fine in a Very Good dustwrapper with some chipping to the spine and rear. Cloth in dustwrapper 9" x 11-1/2". With an Introduction and Annotations by Noel Coward. Frontispiece color portrait of Coward by Clemence Dane. Illustrated in color and black & white by Gladys Calthrop. INSCRIBED in Coward's hand on the title page to Ginette Spanier director of the Paris fashion House of Balmain during the mid-20th century and SIGNED with what seems to be a nickname: "For Ginnettesic/with my love as usual/Maivie." Also inscribed below Coward's presentation in an unknown hand: "Ginette and Paul-Emile/with special &/unusual love/." <br/><br/> Michael Joseph hardcover
198120692ROGNER & BERNHARD 1981. Schweiz!. softcover. Per Anhalter durch die Galaxis ROGNER & BERNHARD paperback
2000300-02933Filter Pr Llc 2000-04-01. paperback. New. In shrink wrap. Filter Pr Llc paperback
19294251London: Chappell & Co. n.d. 1929 1929. Signed by Coward and bound for his lover and manager John Wilson. First edition of the complete vocal score. Quarto. 275x210. pp. 4 163 1 advert. Bound by Bumpus in red morocco with double fillet border in gilt to upper and lower cover lettered in gilt to upper cover and spine. Some rubbing and wear to the corners. Original wrappers bound in. The front pastedown has the bookplate of Herbert Schimmel who put together the greatest collection of books and material related to Noel Coward and Ivor Novello. The title page has Coward's somewhat faint signature in mauve ink. A nice copy with an excellent provenance of this popular and highly successful romantic operetta which contains the wonderfully sentimental and nostalgic song "I'll see you again". In centre of the upper cover stamped in gilt is "J.W. from N.C.". J.W. is John Wilson and N.C. is of course Coward. Wilson was a stockbroker from New Jersey whose life became considerably more glitzy than these unpromising beginnings might have suggested. He and Coward met in 1924. Coward fell in love and Wilson became his business manager in part so that they had an explanation for the amount of time they spent together. The two men lived together for a while along with Coward's parents who no doubt provided additional cover. But Wilson was a loose cannon. A heavy drinker he stole money from Coward who ignored his behaviour and demanded that others do so too. By the late 1930s even Coward had tired of Wilson who returned to America where he became a successful theatre director and producer Kiss me Kate being his biggest hit. He then married an emigrée Russian princess who found him amusing and given that she disliked sex was happy to ignore his gay philandering. Bitter Sweet indeed. London: Chappell & Co. n.d. [1929] unknown
19621121Hengelo The Netherlands: Situationist Times 1962. First Edition. <br /><br />Small Quarto 10 3/4 x 8 5/8 inches; 275 x 220 mm 52 multicolored pages in stapled illustrated wrappers. <br /><br />The scarce first issue of The Situationist Times an avant-garde periodical that focused on art and politics. Articles in German French Danish and English. Heavily illustrated on different colored pages with collages and comics in addition to the texts. <p>Many of the articles highlight the differences between various factions of the Situationists. For instance there's a spirited defense of the Spur group which had been expelled from the Situationist International. A statement on the penultimate page suggests that 1090 copies had been printed.<br /></p><p>Further reading: "The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International" by McKenzie Wark Verso 2011.<br /></p><p>Scarce in commerce.<br /></p><p>CONDITION: A few small nicks and creases to the wrappers but internally clean bright and unmarked. Near Fine. </p><p><br /></p> Situationist Times paperback
198644327Washington DC: Mage Publishers Inc 1986. First Trade Edition. Quarto 28.75cm; full black cloth with titling and artist's facsimile signature stamped in white on spine and front cover; illustrated endpapers; dustjacket; 1431pp; illus; text is in French and English. Inscribed by the artist to Broadway star Sondra Lee on the first blank page "Pour Sondra / trés amicalement / Franta / April 87" beneath a full-page mixed media illustration of two nude figures sitting cross-legged opposite each other. Fine in a lightly shelfworn Near Fine dustjacket. Laid into this copy is an invitation for the 2001 exhibition Franta: "oeuvres choisies" signed by the artist in teal marker with two other signed invitations send to Sondra Lee laid in. <br /> <br /> The first monograph of Franta's work tracing "his development from the 1960s when he first arrived in France a refugee from Czechoslovakia up to his recent exhibitions in New York and Paris." A bilingual edition with 109 illustrations 50 of them in color. A distinguished copy with a masterful full-page work of art. Provenance: From the library of Sondra Lee. Mage Publishers, Inc unknown
198362275s. l.: Par l'auteur 1983. Fine. Par l'auteur s. l. 1983 22 x 22 cm une feuille Large original black and white photographic portrait by Marc Trivier. Original unsigned gelatin silver print like most of Trivier's works. A precious original gelatin silver print by the celebrated Belgian photographer one of the most secretive contemporary artists who despite early international success preferred to limit his production to preserve the coherence of his work. Marc Trivier does not print new copies of his old portraits and the printing paper he used is no longer commercially available. The artist ""produces his own prints on Ilford baryta paper devoting several days of work to each one with particular concentration on rendering the whites in contrast with blacks of rare density. A print by Marc Trivier resembles no other. When he agrees to exhibit them he suspends them in stainless steel frames of his own making giving free rein to the life of the paper."" Xavier-Gilles ""Marc Trivier et la tragédie de la lumière"" ""Marc Trivier and the tragedy of light"" in Le Monde Libertaire 2011. This ""life of the paper"" ""vie du papier"" participates in the work just as much as the various alterations that photographs undergo when they are exhibited: ""Dans les boites les tirages gondolent mais qu'importe : le photographe affectionne ce genre d'accident."" ""In the boxes the prints warp but no matter: the photographer is fond of this kind of accident."" Claire Guillot ""Les face à face sans échappatoire du photographe Marc Trivier"" ""The inescapable face-to-face encounters of photographer Marc Trivier"" Le Monde 2011. Marc Trivier has a particular sensitivity for the material aspect of his productions. While photography is essentially about multiples this intervention by the artist in the entire creative process confers an autographic aura to these prints. Photographs of artists madmen trees or slaughterhouses Marc Trivier approaches all these subjects with a gaze as precise as it is intense. ""Dans sa cosmogonie chaque chose chaque être végétal animal ou humain mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude."" ""In his cosmogony each thing each being plant animal or human deserves the same respect. For all are confronted with the same iron law: solitude."" Luc Desbenoit. The beauty that emanates from his photos comes from this nakedness. There is neither retouching nor cropping. We find in his work the same square format emphasized by the square of the negative that Trivier leaves on his prints. This frame traps our gaze in photographs where the artifice of color is rejected for an incisive black and white. With all artificiality having disappeared we do not face the staging of a subject but a presence exacerbated by radiating and singular light witness to an instant of life and not of pose. It is this light linked to the photographic medium that unites Marc Trivier's series: ""Les photographies de Marc Trivier écrivent une tragédie de la lumière celle-ci n'accueillant les êtres - hommes arbres ou bêtes - qu'en les brûlant avant disparition."" ""Marc Trivier's photographs write a tragedy of light welcoming beings - men trees or beasts - only by burning them before disappearing."" Xavier-Gilles in Le Monde Libertaire. It is also this light freed from all artifices that gives his works the aura that makes them so present. This ""burning"" ""brûlure"" of light brings us back to a real instant to Barthes' ""that-has-been"" ""ça a été"" La Chambre Claire 1980: ""De trente-cinq ans de pratique photographique d'obsessions c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière décliné d'une image à l'autre en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie."" ""From thirty-five years of photographic practice of obsessions this is perhaps what remains Par l'auteur unknown
