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THE BRIDGE ON THE DRINA. THE BRIDGE ON THE DRINA. London: George Allen & Uwin Ltd, (1959). First British edition. Translated from the Serbo-Croat by Lovett F. Edwards. Yugoslav novelist, short story writer, and 1961 Nobel Prize-winner, Andric's writings deal mainly with life in his native Bosnia under the Ottoman Empire. The Nobel Committee considered this title his masterpiece. Green cloth, top edge stained olive green, orange lettering on spine. Previous owner's name and unavoidable offset to endpapers (from the binding), otherwise near fine in price-clipped dust jacket lightly tanned on rear panel, with one small tear and a few skinned spots to spine folds, otherwise bright and near fine.
[Book #52985]       Price: $125.00
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TEN LITTLE NIGGERS (Three Volumes). TEN LITTLE NIGGERS (Three Volumes). London: Samuel French, Ltd./Samuel French, (1944-68). First UK Samuel French "acting edition," first edition thus. Near fine in gray-green, printed paperwraps. Together with a U.S. Samuel French acting edition entitled TEN LITTLE INDIANS, which was "revised 1946" but lists plays on the back cover from the 1950's, so assume much later (handwritten "#18" on front cover, otherwise fine in paperwraps). And last but not least, a well-used, sixth-impression, Fontana paperback edition from August 1968, showing that the Brits, who first used the politically incorrect title in 1939, were undeterred and continued using it 30 years later.
[Book #53071]       Price: $150.00
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SCANLAN'S MONTHLY. SCANLAN'S MONTHLY. New York: Scanlan's Literary House, Inc. 1970. First edition. Volume One, Number Six, August 1970. Magazine cover illustrated by Crumb featuring a mom ripping up a young boys magazine with speech bubble, "This dirty magazine is only about pot and dope smuggling and poon-tang movies. . . So don't hand me any of that crap about Winnie the Pooh" (there's actually an article Winnie the Pooh on p.28). Illustration by Ralph Steadman in the Editorials/Sex section for "A Critic turns on to Poontang Movies" by William S. Pechter (p.68). Near fine in paperwraps with small closed tear and few creases to lower back cover.
[Book #53019]       Price: $100.00
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THE CHRISTMAS BOOKS: A CHRISTMAS CAROL, THE CHIMES, THE CRICKET ON THE HEARTH, THE BATTLE OF LIFE and THE HAUNTED MAN. THE CHRISTMAS BOOKS: A CHRISTMAS CAROL, THE CHIMES, THE CRICKET ON THE HEARTH, THE BATTLE OF LIFE and THE HAUNTED MAN. London: Chapman & Hall, 1843-48. First edition of each of his Christmas books in the original cloth. A CHRISTMAS CAROL (1843): second issue with "Stave One" p.1, yellow endpapers, title page in blue and red. In Todd's earliest state of the binding. A near fine copy with only the barest wear. THE CHIMES (1845): second state of the engraved title page; in the correct, first binding. Near fine with light wear to spine ends and corners, including a tiny inconspicuous tear to back spine tip. THE CRICKET ON THE HEARTH (1846): second state of the advertising leaf for Oliver Twist; in the correct, first binding. Shallow chip to top rear corner of spine, which is a little darkened, otherwise very good. THE BATTLE OF LIFE (1846): fourth state of the vignette title page, as is common; in the variant binding with "by" on front and spine in plain letters (vs. "vine-y"). Cloth splitting at rear hinge and narrow chip near base of spine, otherwise would be about very good. THE HAUNTED MAN AND THE GHOST BARGAIN (1848): light wear to spine ends and corners, faint stain to base of front board, ownership inscription on pastedown, otherwise very good. OVERALL A VERY GOOD SET, remarkably clean and, with the exception of the fifth volume, free from ownership names and inscriptions. Housed in a leather-backed, custom, clamshell case, which is beginning to split but still holding and otherwise quite attractive.
[Book #52966]       Price: $12,000.00
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NERVE. NERVE. London: Michael Joseph, (1964). First edition. An uncorrected proof in tan wraps with the date "24 JAN 1964" stamped on front cover. The author's second mystery. Very good with a few faint spots and the bottom front cover just a bit curled. A very nice copy of a scarce item.
[Book #53003]       Price: $950.00
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THIS GUN FOR HIRE. THIS GUN FOR HIRE. Garden City: Doubleday, 1936. First edition, preceding the British version published as A GUN FOR SALE one month later. "A novel of terror and devotion"--made into the 1942 classic film noir starring Veronica Lake, Robert Preston, Laird Cregar, and Alan Ladd. Very bright and clean tan cloth and spine, unusual thus, and with only minor bumps to tips, otherwise near fine with front free endpaper imperceptibly replaced with matching paper. In only slightly darkened and lightly soiled dust jacket with red author panel at spine faded, as usually seen, and faint "J" on front panel. Professional repair to edges and front panel making this quite an attractive copy of an elusive book in dust jacket.
[Book #53061]       Price: $3,000.00
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MEN WITHOUT WOMEN. MEN WITHOUT WOMEN. New York: Scribner's Sons, 1927. First edition, later issue/printing weighing 13.6 oz. Grissom believes the perfect "3" is more likely indicative of earlier copies than the weight, and this copy has the "3" bruised at bottom. Tiny chip at bottom of spine label which is also rubbed down middle but entirely readable, otherwise a very nice copy with clean pages and only the barest rubbing on corners. Lacking dust jacket.
[Book #53040]       Price: $200.00
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THE IRISH RACE: in the Past and Present. THE IRISH RACE: in the Past and Present. New York: P. J. Kenedy, Excelsior Catholic Publishing House, 1883. Early edition. Green cloth boards lettered and decorated in black and gilt on front and spine; all edges gilt. Four-page list of publisher's offerings tipped in at back. Recased with original cloth laid down and new endpapers added. Previous owners name and brief inscription and two-inch closed tear, repaired with archival tape, on first blank page. Altogether very good.
[Book #52986]       Price: $100.00
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"BAND". "BAND". Lafayette: circa 1981-83. Oil on canvas, measuring 36 x 48 inches. Brown wood beveled frame. Colorful image of four band members mid-note--bass, violin, banjo, and horn--with a free-flowing geometricity evoking cubism. William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.
[Book #53059]       Price: $35,000.00
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"CISTERN WORKERS". "CISTERN WORKERS". Lafayette: circa 1981-83. Gouache on paper, measuring 40 x 48 inches. Double-framed in cream cloth under glass and blonde wood. Colorful image with a free-flowing geometricity evoking cubism of two men hoisting water from a brick-lined cistern . William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.
[Book #53058]       Price: $40,000.00
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"FIELD HANDS". "FIELD HANDS". Lafayette: circa 1981-83. Mixed media of principally pastels, measuring 26 x 36 inches. Matted and framed under glass in gold-burnished, brown wood frame with inner scroll. Field workers, men and women, hoes hoisted on shoulders, pausing to watch the sun rise over the trees. William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.
[Book #53060]       Price: $22,500.00
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"MAN AND WOMAN IN BAR". "MAN AND WOMAN IN BAR". Lafayette: circa 1981-83. Mixed media painting, measuring 24 x 34 inches. Matted and framed under glass in gold-burnished, brown wood frame with inner scroll. Colorful image of a man and woman at a small candle-lit table, with strong foreground image of the man and the woman just blending into the swirling background. William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.
[Book #53057]       Price: $22,500.00
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PHOTOGRAPH - SIGNED. PHOTOGRAPH - SIGNED. 1975. Photograph of Updike with caption "John Updike/Boston, Massauchsetts, 1975." SIGNED by Updike below image which is about 6 x 9 inches. Nicely matted and framed.
[Book #53068]       Price: $125.00
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BABY DOLL: The Script for the Film. BABY DOLL: The Script for the Film. [New York]: New Directions, (1956). First edition. Includes the two plays that were the basis for the film, "Twenty-Seven Wagons Full of Cotton" and "The Long Stay Cut Short." The yellow cloth just a bit aged, otherwise fine in an attractive dust jacket with two closed tears professionally repaired so that they are not visible from front of jacket, and white portion of back panel a little soiled. No chipping.
[Book #30309]       Price: $300.00
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THE REMARKABLE ROOMING-HOUSE OF MME. LE MONDE: A Play. THE REMARKABLE ROOMING-HOUSE OF MME. LE MONDE: A Play. New York: Albondacani Press, 1984. First edition of this previously unpublished one-act play. Number 128 of 150 numbered copies. Hand-sewn red marbled paperwraps with white label on front printed in black. Fine.
[Book #41954]       Price: $150.00
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SOMETHING CLOUDY, SOMETHING CLEAR. SOMETHING CLOUDY, SOMETHING CLEAR. (New York): New Directions, (1995). First edition. Introduction by Eve Adamson. Fine in fine dust jacket.
[Book #53005]       Price: $35.00
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STEPS MUST BE GENTLE: A Dramatic Reading for Two Performers. STEPS MUST BE GENTLE: A Dramatic Reading for Two Performers. New York: Targ Editions, (1980). First edition. One of 350 copies SIGNED by the author. Fine in marbled boards with cloth spine, in the original plain white dust jacket.
[Book #53004]       Price: $300.00
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SWEET BIRD OF YOUTH. SWEET BIRD OF YOUTH. (New York): New Directions, (1959). First edition. A chilling play by the master. Fine in near fine dust jacket that has minor wear on spine ends and slightly faded spine.
[Book #53006]       Price: $300.00
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VIEUX CARRE. VIEUX CARRE. (New York): New Directions, (1979). First edition. SIGNED by the author on half title page.Recreates his own sojourn in the New Orleans French Quarter in 1938. Fine in very good dust jacket with a short abrasion on front cover not very noticable and closed tear at top of front panel.
[Book #53007]       Price: $450.00
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TYPED LETTER SIGNED: Framed together with a signed photograph. TYPED LETTER SIGNED: Framed together with a signed photograph. Washington D. C. April 1, 1983. Single page, TYPED LETTER SIGNED by Herman Wouk; on BSW Literary Agency, Inc. letterhead. To Mr. Frederick J. Green regarding the effect of films on novel reading, "- - as we see in the case of your class - - the films have persuaded students to read very long books they might otherwise not have tackled." Framed together with a SIGNED 3 x 5" black-and-white photo of Wouk in profile. Black mat, silver frame, overall measurement approximately 14.5 x 11.5. Few minor scratches to frame, letter very faintly creased where previously folded to thirds, otherwise fine.
[Book #53031]       Price: $200.00
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