Search Results: Authors starting with V from William Reese Company - Literature ABAA-ILAB

Paris, Winter 1951/2, Summer & Autumn 1952, & Spring 1954.. Whole numbers 11/12, 14, 15 & 19. Four issues (one a double number). Printed wrappers. Cheap paper inevitably uniformly tanned, some sunning to first three wrappers and a crease or two, wrapper of #19 somewhat chipped with tape offset along fore-edge of front cover, otherwise very good. Edited by Sinbad Vail, son of Peggy Guggenheim and Laurence Vail. Initially a bilingual magazine, printing texts by young English and French language authors (and translations). The last bilingual issue was #15, and thereafter the texts are exclusively in English. Contributors to these numbers include Behan, Stacton, Wainhouse, Beaudoin, Trocchi, Gascoyne, Logue at al. Includes some interesting reviews and publisher's ads.

[Np], [ca. 1930s?].. Original borderless double-weight sepia silver print, 34 x 26.5 cm, mounted on stiff card. Photographer's name stamped on verso of mount, edges of photo starting to lift from mount, faint hint of exidation at edges when viewed at an angle, otherwise very good. A striking portrait by the noted theatrical photographer of a rabbi in prayer with hands raised. He signed his name in pencil in the lower left corner of the mount, beneath the image. It is not unlikely that this photo is associated with an unnamed stage production. Alfredo Valente (1899 - 1973) rose to considerable prominence in the 1930s as the photographer for the Group Theatre and by the end of the decade was the one of the leading theatrical photographers for the NYT and other major periodicals. His stint as a Hollywood still photographer included major and visually rich productions, such as LOST HORIZON.

[Np], [nd].. Original double-weight mat finish silver print photograph, 25.5 x 20.5 cm. Photographer's name stamped on verso, faint spotting to blank verso, otherwise very near fine. An informal closeup portrait of Eve Arden watching over a very young girl playing the piano. Alfredo Valente (1899 - 1973) rose to considerable prominence in the 1930s as the photographer for the Group Theatre and by the end of the decade was the one of the leading theatrical photographers for the NYT and other major periodicals. His stint as a Hollywood still photographer included major and visually rich productions, and included a period of association with Columbia Pictures as contract photographer from 1935-37.

[Np], [ca. 1937].. Original borderless double-weight sepia silver print, 33.5 x 24.5 cm. Photographer's name stamped in verso, otherwise very near fine. A fine costume portrait of Jane Wyatt as Sondra, in association with Frank Capra's 1937 film adaptation of James Hilton's 1933 utopian novel, LOST HORIZON. Alfredo Valente (1899 - 1973) rose to considerable prominence in the 1930s as the photographer for the Group Theatre and by the end of the decade was the one of the leading theatrical photographers for the NYT and other major periodicals. His stint as a Hollywood still photographer included major and visually rich productions, as exemplified here by LOST HORIZON.

New York: French Relief Fund, Inc, [1943].. Small quarto (23.5 x 18.5 cm). Spiral bound photographically illustrated wrapper. Illustrated with 52 photographs facing the weekly calendar grid. Edgeworn, with small chip at toe of spine, internally very good and unused. A lovely association copy, inscribed by Fania Marinoff to her husband, novelist / photographer Carl Van Vechten: "For my blessed beloved baby to remind him to remember to Love me and me only more and more every day of 1944 and always - Fania." Van Vechten met Russian actress Fania Marinoff in 1912 - they married in 1914 and remained together until Van Vechten's death in 1964. Marinoff was supportive of Van Vechten's sexuality.

[New York], [12 June 1949].. Original borderless gelatin silver print, 18 x 12.5 cm (7x 5 inches). Matted. Old mat mounting tape on verso, otherwise about fine. A striking and characteristic portrait by Van Vechten of the youthful actress, taken in the year of her Tony Award-winning debut in Rodgers & Hammerstein's SOUTH PACIFIC. With Van Vechten's studio stamp on the verso, his blindstamp in the corner, and his manuscript subject identification, negative number and session date in ink on the verso. KELLNER G848.

New York: Alfred A. Knopf, [1924].. 135pp. Large octavo. Cloth-backed batik paper over boards. Frontis and illustrations. Binding heavily worn at forecorners, lower 6cm of spine cloth absent, but a sound copy. First US printing in this format, illustrated with wood-engravings by Wilfred Jones. One of 2040 numbered copies printed by the Pynson Printers after a design by Elmer Adler. A lovely association copy, inscribed by Carl Van Vechten to his wife, Fania Marinoff: "for my dearest baby, from Carlo / Christmas -- 1924." Marinoff's beautiful engraved Willy Pogany personal bookplate appears on the front pastedown. Van Vechten met Russian actress Fania Marinoff in 1912 - they married in 1914 and remained together until Van Vechten's death in 1964. Marinoff was supportive of Van Vechten's sexuality.

[New York], 17 February 1953.. Original borderless gelatin silver print, 23.5 x 18 cm (9.25 x 7.25 inches). Fine. A fine portrait of the young singer, then in the ascendance of her career, less than a year after her role as St. Settlement in the Broadway revival of Gertrude Stein's FOUR SAINTS IN THREE ACTS. This print bears Van Vechten's blindstamp, and on the verso his ink studio stamp. The subject, date and negative number are also written on the verso in ink, in Van Vechten's hand. There is a print of another negative from the same sitting, albeit dated in the catalogue entry a week earlier - an impossibility as it is separated from this photograph by only one other exposure and the set and dress are identical - in the LC Van Vechten photo archive. KELLNER G434.

[New York, 19 October 1952].. Original borderless gelatin silver print, 25.5 x 17 cm (9 7/8 x 6 3/4 inches). Matted. Fine. A beautiful portrait of the then 25 year old singer, dating from the year of her Broadway appearance in the musical review, NEW FACES. The 1954 film version was her first credited screen role. This print bears Van Vechten's ink studio stamp on the verso. The subject, date and negative number are also written on the verso in ink, in Van Vechten's hand. There are prints of three other negatives from the same session in the Library of Congress Van Vechten photo archive, and two other prints from the session were exhibited in EXTRAVAGANT CROWD CARL VAN VECHTEN'S PORTRAITS OF WOMEN (Yale, Beinecke Library, 2003). KELLNER G701.

[New York, 2 September 1937].. Original borderless semi-gloss gelatin silver print, 45 x 27.5 cm (14 x 11 inches). Old mat mounting tape on verso at corners, otherwise about fine. A lovely portrait by Van Vechten of the Academy Award-winning German-American-British film actress. This portrait dates from the year of her receipt of the Best Actress Oscar for her role in the 1936 biopic, THE GREAT ZIGFIELD. The same year, Rainer was cast in the film adaptation of THE GOOD EARTH, for which she received her second Best Actress Oscar, the first recipient of the award for back-to-back years. With Van Vechten's studio stamp on the verso, and his manuscript subject identification, negative number and session date in pencil on the verso. A portrait from the same session is included in the National Portrait Gallery Van Vechten collection. KELLNER G1052.

[New York], [7 March 1959].. Original borderless gelatin semi-gloss silver print, 25.4 x 19.5 cm (10 x 7 5/8 inches). Matted. Mat mounting tape on verso, otherwise about fine. A characteristic portrait by Van Vechten of the prolific playwright and screenwriter, long-time writing partner with Robert Lee responsible for such classics as INHERIT THE WIND. With Van Vechten's studio stamp on the verso, his blindstamp in the corner, and his manuscript subject identification, negative number and session date in ink on the verso. Kellner records only a 1936 sitting. KELLNER G741.

New York: D. Appleton and Co., 1896.. [6],149,[5]pp. 12mo. Burgundy cloth, lettered in gilt. Modest wear to spine ends, slight tanning, otherwise a very good copy. First edition. With the pictorial bookplate of Carl Van Vechten designed by Prentiss Taylor on the front pastedown. A properly deaccessioned institutional duplicate with special collection bookplate, bearing release stamp, on rear pastedown.

[New York], [18 February 1954].. Original borderless gelatin silver print, 25.5 x 20 cm (10 x 8 inches). Minute .5 cm crease and tear at extreme upper right edge, otherwise fine. A brilliant portrait by Van Vechten of the 27 year old actor, singer and social activist, barefoot, in costume and posed in a dance stance, in his role from John M. Anderson's Broadway production, ALMANAC. Van Vechten's full manuscript subject identification, negative number and session date appear in ink on the verso. KELLNER G92.

[New York], [8 July 1948].. Original borderless gelatin matte finish silver print, 24 x 18.5 cm (10 x 7 3/8 inches). Matted. Old mat mounting tape on verso, otherwise about fine. A striking and characteristic portrait by Van Vechten of the Chinese man of letters. With Van Vechten's studio stamp on the verso, his blindstamp in the corner, and his manuscript subject identification, negative number and session date in ink on the verso. Lin Yutang (1895-1976), born in Changzhou, and educated at Saint John's University in Shanghai, Harvard University, and the University of Leipzig. From 1923 to 1926 he taught English philology at the University of Beijing. He subsequently devised a Chinese indexing system and helped formulate the official plan for romanizing the Chinese language. After 1928 he lived mainly in the U.S. His many works represent an attempt to bridge the cultural gap between East and West. Kellner records only a 1936 sitting. KELLNER G771 (ref).

Boston: Printed for David West ... and John West, [ca 1794].. 79,[1]pp. 12mo. (18 x 10cm). Disbound. Tanning and marginal soiling, terminal leaf a bit limp, thumb tip size discoloration at spine of title and terminal leaf; just about good. First and only 18th century US printing. ESTC locates a single copy of this printing of this play as it appeared in a collective volume, at Princeton. ESTC locates copies of this separate issue at AAS, Harvard, JCB, NYPL, NY Historical, Princeton and Yale. ESTC W28010. EVANS 27987.

Bruxellis: Apud Ant. Collaer Bibliopolam, 1778.. 32pp. plus engraved title and 30 engraved plates. Quarto (28 x 19.5 cm). Full grayish tan crushed levant, upper board decorated in blind with cathedral-style motif, with twin inlaid lighter morocco circular window panes, signed by William Anthony on rear pastedown. Fine in half-morocco clamshell case. Second edition, being a faithful recreation of the work first published in Antwerp in 1610. Otto van Veen (c. 1556 - 1629) ran a large studio in Antwerp, and included among his students P. Paul Reubens. He produced a number of important emblem books, as well as this series of thirty "Effigies D. Thomae Aquvinatis," with engravings of historical and apocryphal scenes in Aquinas's life executed after Veen's designs and those of others by Boel, Swanenberg, Galle, van Paenderen, et al. The restrained and thematically appropriate binding was executed by the Irish-born binder and conservator William Anthony (1926-1989). Anthony trained in Dublin and worked in… Read More

[Nice: Editions Jacques Matarasso, 1987]. Octavo. Ten panel leporello, printed on recto only, laid into printed wrapper. Fine. First edition in this format, with Verdet's poem printed across the leporello above Baltazar's etching. One of 75 numbered copies on Japon Sekisbu (plus 10 h.c.), signed by the author and the artist.

New York: Random House, [1978].. Chocolate brown pictorial wrapper. Uncorrected page proofs of the first edition. Faint shadow of filing label across lower edge, otherwise near fine, with publication info in ink on front wrapper.

[Paris], 1960/1.. Image 14 x 8.5 cm on folded 20 x 25 cm sheet of art paper. Fine. A New Year's greeting card from the Spanish artist and his wife, Germaine, with a three- line manuscript greeting in French and a five- line addendum in English noting their relocation to "...a little house in Paris with a garden, wonderful for the baby!" The greeting is likely in Germaine's hand and is conjugate with the etching, which is signed in the lower right margin, "Vilato." Vilato fought for the Republic and was rescued from a French camp for refugees after the Republic's defeat by his uncle, Pablo Picasso. He returned to Spain with the outbreak of WWII, but in 1946 settled again in Paris.

[Paris], 1964.. Image 15.5 x 9.5 cm on stiff card. Fine. A New Year's greeting card from the Spanish artist, executed in ink and watercolor. It is signed in the image: "Bonne Année 1964 Vilato." Javier Vilato fought for the Republic and was rescued from a French camp for refugees after the Republic's defeat by his uncle, Pablo Picasso. He returned to Spain with the outbreak of WWII, but in 1946 settled again in Paris.