004 - Cabs virtual fair - mobile view
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01. Adolfo Bioy Casares. The Invention of Morel. And Other Stories (from La Trama Celeste). Austin: University of Texas Press, . First U. S. edition. Octavo (9 x 5.875 inches; 228 x 150 mm.). , 237, [3, blank] pages. Full-page illustrations by Norah Borges de Torre throughout. Publisher's light whitish-brown cloth, spine lettered in black, spine and front board stamped in green; variant with top edge of the text block stained yellow, others trimmed; green endpapers; in the original dust jacket, priced $5.00. Spine just barely askew; front board with the slightest splay; board edges very faintly foxed or soiled. Top edge of the text block faintly foxed; previous ownership signature in pen on the front free endpaper. Dust jacket spine panel tanned just a shade, visible only in the text of the title and on the verso; edges with a touch of wear with a couple tiny nicks and a very soft marginal crease on the rear panel. Near fine. An exceptional copy. Prologue by Jorge-Luis Borges; translated by Ruth L. C. Simms.
Direct source for the forgettable 1974 Emidio Greco film starring Anna Karina as Faustine but more famous for its relationship with the formalist masterpiece Last Year at Marienbad (1961), directed by Alain Resnais from a screenplay by Alain Robbe-Grillet, which was the subject of Thomas Beltzer's "Last Year at Marienbad: An Intertextual Meditation" (Senses of Cinema, November 2000). Though their plots, superficially, have little in common, The Invention of Morel is also cited as the film's source material in the Encyclopaedia Britannica. (#10050).
02. Alvin Langdon Coburn; Hillaire Belloc (introduction). London. London: Duckworth & Co; New York: Brentano's, . First edition. Folio (16.125 x 12 inches; 410 x 305 mm.). 21, [3, blank] pages. Twenty photogravure plates, hand-pulled by the photographer, following the text; each mounted by the upper corners to thick gray-green paper, sewn in gatherings of four leaves. Publisher's dark green quarter-roan over brown paper-covered boards; front board lettered in gilt; all edges of the text block trimmed; gray-green endpapers. In the original letterpress dust jacket (defective), plain gray paper with the title (since removed) and author printed in black. Boards very slightly warped; covers faintly dulled where exposed due to jacket defects, light discoloration to the top edge of the rear board and some general minor soiling; spine ends worn with a touch of loss at the base of the spine; front joint starting at the lower edge (for about four inches); very minor crimping to the paper covering the front board; board edges rubbed with a couple minor dings; corners softly bumped and worn with the boards partially exposed. Text very faintly foxed. Still, a very good copy; images fine. Dust jacket lacking the upper-third or so of the front panel, removing London but retaining all of the text in Coburn's name; moderate chipping along the bottom edge; spine panel lightly darkened with a few small interior holes; routine wear to the edges and folds with some tears stabilized with tissue paper to prevent further loss on the rear panel and in the rear flap fold; fair only, but it exists. The only jacketed copy currently in the trade (August 2019). Roth 38; Truthful Lens 36. (#10001).
03. [Comics]. Jolanka. Milan: Furio Viano Editore, 1970-1976. Original periodical appearances, Super issues, covers vary from the digest-sized issues, but the content and titles are the same (priority, if any, not known to us). 54 volumes. Quarto (approximately 9.5 x 6.625; 240 x 167). Various paginations. Fully illustrated in color (19 early issues, through number 27) or black and white (later issues). Publisher's perfect bindings, in the original full-color illustrated wrappers. Some spines leaning or creased, as expected; varying degrees of toning to the backstrips, one issue's, number three, perished, a couple others with tape mends; some spine ends chipped; occasional wear and tear to some covers with light creasing; relatively trivial soiling. Generally very good, some quite nice. Issue numbers range from 3 to 66, full listing available on request. Roughly double the number of individual issues currently available on eBay (March 2019), none of which are earlier than issue 28; no listings found in WorldCat. Text in Italian.
From Larry McMurtry's comic collection, by way of Heritage Auctions. McMurtry's collection of fumetti was mentioned in his memoir, Books: "One day, near the railroad station [in Rome], I stumbled on some book stalls where they sold used Italian comic books... What arrested me, at first glance, were the many similarities in the violent comics to the Fiction House comics of the forties and fifties. I bought a lot of the fumetti and sent them home. Later, reflecting on how rare the trivial publications would become over time, I commissioned two friends, poets both, to journey from Venice to Naples just to buy me fumetti." (New York: 2002, p. 22).
"From 1966 forward... more than a hundred publications appeared with content ranging from the suggestively erotic to the blatantly pornographic. Among the most popular, and least amateurish, were Jacula, Isabella, Vartan, Lucifera... and Hessa. For the most part, the fumetti vietati [ai minori (adults only comics)] dabbled in gothic and horror genres, serving in equal parts gore and sexual situations, making them the comic book counterpart of the gothic and erotic movie phenomenon that developed in Italy in the early '60s" (Simone Castaldi, Drawn and Dangerous, Jackson: 2010, p. 18).
Full issue (series and number) list available upon request. Shipped at cost. (#10008).
04. Jean Epstein. La poésie d'aujourd'hui, un nouvel état d'intelligence. Lettre de Blaise Cendrars. Paris: Éditions de la sirène, 1921. First edition, Kraft Roux issue, limited to fifty numbered copies, of which this is lucky number thirteen. Octavo (7.5 x 5.625 inches; 190 x 143 mm; bulk of the text measures .75 inches, compared to .375 inches in the trade issue). [2, half-title (limitation on verso)], [2, title-leaf (copyright on verso)], [2, dedication (note to the rear on verso)], [2, contents], 215, [1, blank] pages. A few in-text illustrations by Claude Dalbanne, including the title-page decoration also printed on the front wrapper. Publisher's binding in the original illustrated wrappers, printed in orangish-red and black; top edge rough-trimmed, others untrimmed; no endpapers. Backstrip and margins very faintly tanned; spine with a couple minor vertical creases; spine ends very gently worn with a short (about one-quarter inch) closed tear at the base of the front panel fold; covers lightly rubbed, more so on the rear; a couple trivial soil spots. Text block browned, but the pages still feel strong and supple; infrequent and insignificant imperfections in the text (tiny soil spots); half-title with two faint blemishes from rubbing and old bookseller notes in pencil. Near fine. Text in French.
Epstein's first book, "focusing mainly on aesthetic and literary concerns... it also sketches out several of the issues Epstein would develop over the course of his writings." Contains the "Les cinéma et les lettres modernes" ["Cinema and Modern Literature"], a chapter that "demonstrate[s] the affinities of poetic strategies and cinematic ones." (Sarah Keller, Jean Epstein, Amsterdam: 2012. p. 271). Fouché p. 113. (#10052).
05. Jean Pascal & Adrien Maitre (editors). Cinémagazine. Hebdomadaire illustré. Paris: 1921. Bound periodical issues; 50 consecutive issues, the compete first calendar year, beginning the third week in January. Four volumes. Octavo (9.25 x 6 inches; 235 x 153 mm.). Variously paginated. In-text illustrations throughout. Publisher's red cloth, spine and front board lettered in black and ruled in white, front board stamped in white; all edges of the text block trimmed; dark green (three volumes) or purple (one volume) endpapers. Complete surplus issues, with the original wrappers bound in, additional title-pages and indices inserted. Spines very slightly askew (more so on the third volume); spine ends pushed with some light rubbing; corners softly bumped and very lightly worn; top edge of the rear board on the third volume with a small divot; covers with just a touch of soil. Individual issues' wrappers a trifle worn on occasion, though a couple are on the tatty side; single leaf detached from issue thirty-one; third volume over-opened, splitting the text, in two places. Generally very good, the third volume lagging slightly behind. The genesis of "the most popular semi-independent film magazine of the 1920s" (Richard Abel, French Film Theory and Criticism, vol. I, Princeton: 1988. p. 322).
"Jean Pascal and Adrien Maître's Cinémagazine (first published in January 1921) provided [an inexpensive alternative to Le film with information on current film production and exhibition] in addition to space for lengthy reviews and essays from across the spectrum--from those closely associated with the industry like Guillaume Danvers and Juan Arroy to independents like Vuillermoz, or from those linked to the Right like Jeanne and Boisyvon to those on the left like Moussinac. The degree of its success soon allowed Cinémagazine to have its own reporter, Robert Florey (who would go on to be a prolific director), in Hollywood..." (ibid. p. 197). (#10060).
06. Kenneth Patchen. Red Wine & Yellow Hair. New York: New Directions, . First edition, painted issue, limited to 108 copies, of which this is number three. Signed by the author with a handwritten limitation statement on the rear endpapers. Octavo (9 x 6 inches; 228 x 150 mm). 64 pages, printed on light greenish blue laid-paper stock. Publisher's green quarter-cloth with oversized (nine-inches square) brown paper-covered boards, designed and painted by the author; front board with metallic onlay framing onlaid portrait on paper, glazed; rear board painted in orange, yellow and black; spine lettered in gilt. Top edge of the text block stained dark blue; red endpapers. Boards with a few minor blemishes, two holes to the glaze in the portrait area; upper corner of front board worn with the board exposed; light rubbing to the rear board; front joint faintly discolored. Light marginal soiling to the text block. Near fine. Morgan A18b. (#10011).
07. [Société Pathé Frères]. Le film vierge Pathé. Manuel de développement et de tirage. Paris: Établissements Pathé-Cinéma, 1926. First edition. Octavo (9.375 x 6.125 inches; 237 x 155 mm.). xii, 155, [1, blank] pages, text printed on a very light brownish-yellow background. In-text illustrations throughout; six plates ("tableaux") with cutouts displaying a total of 107 inset frames (most about 24 mm) of film stock displaying numerous processing techniques; plates joined in pairs along the vertical edges, and tipped to additional blank plate which is bound in by a stub. Publisher's brown quarter-goatskin over marbled paper-covered boards; spine lettered, ruled and stamped in gilt; all edges of the text block trimmed; marbled endpapers, flyleaves. Possibly a hint of expert repair and color-correction along the joints but conceivably, it's just mild wear (the hinges appear to be completely untouched); tears to the leather, causing a small flap, at the base of the spine since mended and discretely laid back down. Edges very lightly worn, with some trivial paper loss at the corners; corners softly bumped; some insignificant surface scuffs to the leather; boards very gently bowed. Flyleaves very lightly foxed; occasional mild marginal soiling; edges of the plates very slightly cockled. Slightly furbished, presents as near fine. Text in French. "[T]he three foldout cardboard tables of illustrations with 107 individual nitrate frames are the most complete ever published" (Paolo Cherchi Usai, "The Color of Nitrate" in Silent Film, London: 1996. pp. 22-23). Not in Viejo. (#10056).
08. Pablo Picasso (illustrator); Tristan Tzara. De mémoire d'homme. Poème par Tristan Tzara, Lithographies de Pablo Picasso. [Paris]: Bordas éditeur, . First edition, Arches issue, limited to 300 numbered copies, numbered 31-330, of which this is number 291, following 20 hors commerce copies on Alfa mousse and 30 on Van Gelder holland accompanied by a suite of plates on Japon. Lacking Tzara's initials on the limitation page. Quarto (13 x 9.875 inches; 330 x 250 mm.). 119, , [4, blank] page (note: first four pages blank). Nine full-page lithographic illustrations (including the title-page) after Pablo Picasso. Publisher's binding, sewn sheets in oversized letterpress white paper wrappers with the contributors printed on the front, the title on the spine and the publication information on the back in black, french-folded over the first and last leaves of the text (both blank); yapp edges; all edges of the text block untrimmed. Spine somewhat askew and creased vertically with a short closed tear at the base of the backstrip; front joint partially split (three and three-quarter inches from the bottom edge); covers lightly soiled with some stray minor scuffs and a few light splashes (the largest being about three-quarters of an inch in diameter, over the contributors' names on the front panel); corners bumped. Occasional mild over-opening, but the text still feels secure; some mild foxing or spotty discoloration to a few leaves, including the third illustrated page (butterfly). Very good. Picasso: Cramer 59; Boston 234; Horodisch B15; Rauch 79. Tzara: Harwood 41. (#10002).
09. Cornell Woolrich. Cover Charge. New York: Boni & Liveright, 1926. First edition. Octavo (7.5 x 5.125 inches; 190 x 130 mm.). 286, [2, blank] pages. Publisher's dark green cloth, spine and front board with a panel painted red, outlined in gilt on the front board, and lettered in gilt; publisher's device stamped in blind on the backstrip; top edge of text block trimmed, others untrimmed; plain endpapers. In the original, restored dust jacket, designed by Bobritsky. Spine slightly leaning; spine ends softly pushed; spine ends and corners with just a touch of wear; covers with a couple trivial surface scuffs. Endpapers faintly discolored in the gutter from the binding glue; leaf with pages - ("Apotheosis") remargined on after a sizable chip to the fore-edge, another minor paper repair on the preceding leaf; some pages roughly opened.A near fine copy in a restored jacket with stabilized folds (some negligible associated flaking), chipping at the crown, fold edges, and bottom edge, as well as a v-tear in the upper margin of the rear papel, addressed with paper added and discreet color correction (not affecting any text), small interior hole in along the front panel fold patched; general light soiling, price-clipped; presents as near fine.
"Leaving Columbia in 1925, Woolrich published his first novel, Cover Charge, in 1926 with Boni and Liveright, the firm that brought out Faulkner's first novel, Soldier's Pay, that same year and Hemingway's first American collection of stories, In Our Time, the year before. Over the next six years, Woolrich published five additional novels, most of them in the same Fitgeraldian [sic], Jazz Age vein." John T. Irwin. Unless the Threat of Death is Behind Them (Baltimore: 2006), p. 128. (#10160).
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