Alan P Bates (12 results)

Paperback. Condition: Good. Pages slightly tanned otherwise Good. NOT A FORMER LIBRARY BOOK.

Soft cover. Condition: Very Good. 1st Edition. 162p, a VG paperback.

Paperback. Condition: Good.

Paperback. Condition: Very Good. VERY RARE BOOK. This copy is NEAR FINE; the text is clear, bright, and unmarked except for previous owner's name a price on fep; binding is tight. The covers are also very good; absolutely intact, including color and design, but large mark on inside of back cover, small mark top front, slight wear marks front and rear. We have a five star rating because of our fulfilment success and because our descriptions are accurate. We guarantee: NO NASTY SURPRISES.

Softcover. Condition: Near Fine. First edition. Green wrappers. 123pp. Bottom corner on front wrapper lightly creased, near fine. Poetry and stories by Tim Nash, P.B. Newman, Hilary Masters, James Applewhite, Margaret Edwards, Tom Huey, Marianne Gingher, Carol Cox, Alexander Albright, John Whalen, Tim Tarkington, Louis Skipper, Mary Steinmetz LeDonne, Sally Carstarphen, Don Zigler, Ellen Levine, Robert Ruh, David Middleton, Suzanne B. Jordan, Joseph Maiolo, Scott Bates, W.S. Doxey, Alan Britt, and Jim Clark.

Softcover. Condition: Near Fine. First edition. Stapled wrappers. 84pp. Check marks on rear wrapper and page 58, a couple of pages dog-eared, near fine. Poetry by Ann E. Michael, James P. Lenfestey, Jim Daniels, Jim Freeman, Livio Farallo, Rochelle Ratner, Jeanne Murray Walker, Julie Lechevsky, Richard Bank, April Linder, Kelley Jean White, Bruce Dethlefsen, Gina Conti, Peter Krok, Alan Catlin, Marilyn Bates, Robert L. Penick, B.Z. Niditch, Gayle Elen Harvey, Dennis Harrell, Robin Merrill, Joanne Lowery, Cathryn Cofell, Sandy Supowit, Len Roberts, Dennis Donaghy, Margaret A. Robinson, John Grey, Robin Becker, Ann A. Boger, Jenny Browne, Albert Huffstickler.

Vintage studio still photograph from the 1971 film, showing Julie Christie in costume. Provenance stamp on the verso. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 8 x 10 inches. Near Fine. Vogel, Film as a Subversive Art.

Vintage reference photograph from the 1971 film, showing actress Julie Christie sporting a fringed shawl and riding a bicycle on the set. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 8 x 10 inches. Near Fine. Vogel, Film as a Subversive Art.

Hardcover. Condition: Near fine. Garnett, R.A.; Austen, John; Gibbings, Robert; Papé, Frank C.; Odle, Alan; Garwood, Tirzah; Hilder, Rowland; Kermode, William; Grant, Duncan; Moon, P.V.; Leighton, Clare; Wolfe, Edward (illustrator). Each volume one of 550 copies, quarto size, approx. 650 total pages, each volume signed by the author. The "Furnival Books" were a series of shorter works from young authors, some of whom would go on to be considered the best of their day. The brainchild of bookseller and publisher A. W. Steele, he published these limited edition copies under two imprints, but the entire series of twelve books were all printed by the Chiswick Press between 1930 and 1932. One of the great bonuses of this series are the frontispiece illustrations, several by some of my own favourite artists: John Austen, Robert Gibbings, Frank Papé, and Clare Leighton. Particulars on the twelve books are as follows: (1) Powys, T.F.; Warner, Sylvia Townsend (Foreword); Garnett, R.A. (Woodcut), "The Key of the Field", 1930, no. 12, 39 pp.; (2) Bates, H.E.; Garnett, Edward (Foreword); Austen, John (Line Engraving), "The Hessian Prisoner:, 1930, no. 477, 42 pp.; (3) Coppard, A.E.; Gibbings, Robert (Woodcut), "The Man From Kilsheelan", 1930, no. 180, 38 pp.; (4) Davies, Rhys; O'Flaherty, Liam (Foreword); Papé, Frank C. (Illustration), "The Stars, The World, and The Women",1930, no. 135, 53 pp.; (5) Hanley, James; Aldington, Richard (Foreword); Odle, Alan (Frontispiece), "The Last Voyage", 1931, no. 232, 73 pp.; (6) Strong, L.A.G.; Coppard, A.E. (Foreword); Garwood, Tirzah (Frontispiece), "The Big Man", 1931, no. 267, 45 pp.; (7) Manhood, H.A.; Williamson, Henry (Foreword); Hilder, Rowland (Frontispiece), "Little Peter the Great", 1931, no. 368, 95 pp.; (8) Warner, Sylvia Townsend; Powys, T.F. (Foreword); Kermode, William (Frontispiece), "A Moral Ending" (also containing "A Parting Gift" and "How to Succeed in Life"), 1931, no. 468, 47 pp.; (9) Garnett, David; Bates, H.E. (Foreword); Grant, Duncan (Frontis), "A Terrible Day", 1932, no. 148, 37 pp.; (10) O'Flaherty, Liam; Davies, Rhys (Foreword); Moon, P.V. (Frontis), "The Wild Swan" (also containing "It Was the Devil's Work" and "Unclean"), 1932, no. 121, 60 pp.; (11) Benson, Stella; West, Geoffrey (Foreword); Leighton, Clare (Frontis), "Christmas Formula" (also containing "Tchotl" and "A Dream"), 1932, no. 419, 67 pp.; [and] (12) Collier, John; Sitwell, Osbert (Foreword); Wolfe, Edward (Frontis), "Green Thoughts", 1932, no. 45, 56 pp. ___DESCRIPTION: The volumes all of a uniform design, with each bound in a different colour of cloth, each with the title in gilt on both the front board and the spine, the author in gilt towards the bottom of the front board, year of publication in gilt at the tail of the spine, top edges gilt, the limitation pages found before the half-titles each signed by the author, each volume with a frontispiece by different artists; binding quarto size (10 1/8" by 6 3/8"), pagination as set forth above. ___CONDITION: The set near fine overall, the boards on most volumes clean (vol. 2 with a thin line on the back board which appears to be some sort of residue, vol. 9 with small spot of soil on the front board, and vol. 12 with what appears to be offsetting from the glue), the corners on most volumes straight and unrubbed but a few volumes lightly bumped and with minimal rubbing, strong, square text blocks with solid hinges, the interiors clean and bright, and the set entirely free of prior owner markings; several volumes with sunning to the boards and most volumes with the spines sunned. Still overall a lovely set, a few condition issues to the bindings, the interiors fine, we noted several signatures unopened. ___POSTAGE: Please note that the combined size and weight of this set will necessitate additional postage, please inquire for details; International customers, also please note that any taxes, duty, or tariffs charged by your country will, of necessity, be your responsibility. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Vintage borderless double weight photograph of director Joseph Losey, actor Michael Redgrave, and a camera crew on the set of the 1971 film. With a printed mimeo snipe affixed to the verso, along with a provenance stamp. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 10 x 8 inches, with a wide bottom margin. Near Fine. Vogel, Film as a Subversive Art.

Vintage borderless double weight photograph of director Joseph Losey filming a scene on location in Norwich with actor Dominic Guard, with cast and crew members looking on. With two printed mimeo snipes affixed to the verso. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 10 x 7 inches. Near Fine. Vogel, Film as a Subversive Art.

Vintage borderless reference photograph of director Joseph Losey, actor Dominic Guard, and crew members on the set of the 1971 film. Based on L.P. Hartley's 1953 novel. A young boy acts as the go-between for a tenant farmer and a wealthy young woman engaged in an illicit affair. Screenwriter Harold Pinter's final collaboration with Losey, following "The Servant" (1963) and "Accident" (1967). Set and shot on location in Norfolk, England. 10 x 8 inches, with a wide bottom margin. About Near Fine, slightly wavy on the bottom edge. Vogel, Film as a Subversive Art.