Catcher Rye, Signed (11 results)

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. First Edition, First Printing with the words "FIRST EDITION" printed on the copyright page. Later editions do not state "First Edition" on the copyright page. This copy is SIGNED by J.D. Salinger on a sales receipt for four books that he bought from the Dartmouth Bookstore in Hanover, NH on August 22, 2001. The bookstore was near his home. This ORIGINAL dustjacket is rich in color with minor wear to the spine. The book is bound in the publisher's cloth and is in excellent condition with minor wear to the spine and edges. The binding is tight with NO cocking or leaning and the pages are clean. There is NO writing, marks or bookplates in the book. A wonderful copy SIGNED by the author with a Letter of Authenticity examined by PSA/DNA on February 27, 2020. Includes a photograph of J.D. Salinger. Signed by Author(s).

No Binding. Condition: Not A Book. Dust Jacket Condition: Clamshell As New. 1st Edition. 1st Edition. No Binding. Custom Clamshell Case. Excellent Custom Fitted Modern Collector's Clamshell Bookcase [Not A Book] HAND-CRAFTED by our conservation team, each box is Gilt-stamped at the spine, & features a blind embossed [sculpted] red prancing horse design, raised on the upper cover inspired by the first edition DJ's graphics & is finished inside & out in Red & Black Nuba®, a fine, supple & durable covering with a neutral ph that has the feel of velvety soft Italian Nubuck® leather. This clamshell is perfectly sized to accommodate your first edition. A Terrific Collector's Custom Case for an important Book. TBCL Web Site photo/link available for more than 100 generally in-stock titles. Custom Craft available. Book definitely NOT included. CUSTOM CASES available for FRANNY, RAISE HIGH & NINE STORIES. The text can be altered to add "signed" or other special requests. *Also available in Black if requested.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Jerome David Salinger (1951) The Catcher in the Rye , US first edition, first printing, published by Little, Brown and Company. Together with an original Salinger letter, signed by him. First issue dust jacket fullfilling all three first issue points: 1) Salinger s photograph appearing slightly cropped on the rear panel; 2) the photograph portrait is credited to Lotte Jacobi; and 3) the $ and 3 of the price is positioned directly above the shoulder of the R. The letter: typed letter signed in full as J.D. Salinger , written to his copy editor John E. Woodman at Little, Brown and Company. Measuring 8.5 inch x 11 inch; on one leaf of watermarked Corrasable Bond paper, R.D. 2, Windsor, VT, dated October 14, 1962. Within, the author acknowledges receipt of page proofs for Raise High the Roof Beam, Carpenters and Seymour: An Introduction . Accompanied by the original transmittal envelope bearing philatelic markings and letter-opened at left. Featuring expected letter folds to typed leaf, with minor creasing throughout. Together with a photocopy of Woodman s original letter to Salinger dated four days earlier describing the proofs as remarkably clean , and praising its contents. Raise High the Roof Beam, Carpenters and Seymour: an Introduction , was the final book-length work of fiction published in Salinger s lifetime. It is comprised of two novellas set seventeen years apart, and are both concerned with Seymour Glass, the eldest son of Salinger s fictional Glass family. Originally published in the New Yorker in 1955 and 1959, the two stories were reprinted as an anthology by Little, Brown and Company in 1963, just months ahead of the present correspondence. Condition of the book: a near fine copy and very close to fine for the harshest of judges. There are no previous owners inscriptions, no stamps, no bookplates. No bumps to the boards, no lean. The lettering on the spine is NOT rubbed out and clearly legible. Endpapers clean. The dust jacket is in amazing condition and one of the best we have ever seen. Crucially, this is in the original state with NO restorations whatsoever. It is not price clipped, clean with no tears, no chips, no rubbing. Light browning to spine commensurate with age and no fading of the red colour. A beautiful copy. The Catcher in the Rye needs no introduction. Being read in schools, it is one of the landmark novels of 20th century American fiction with global sales exceeding one million copies anually. It has defined and captured the timeless mood of teenage existential angst and that is why the novel has retained its fascination to young readers around the globe to date. First and Fine. Signed by Author(s).

First edition of the author's classic first book. Octavo, bound in full morocco by the Harcourt Bindery with gilt titles and tooling to the spine in five compartments within raised bands, gilt ruling to the front and rear panels, gilt stamped signature to the front panel, gilt ruled inner dentelles stamp-signed by the Harcourt Bindery, marbled endpapers, all edges gilt. In fine condition. An exceptional presentation. Since his debut in 1951 as The Catcher In the Rye, Holden Caulfield has been synonymous with "cynical adolescent." Holden narrates the story of a couple of days in his sixteen-year-old life, just after he's been expelled from prep school, in a slang that sounds edgy even today and keeps this novel on banned book lists. It begins, "If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them.".

Hardcover. Dust Jacket Included. First Edition. First Edition. Hardcover. Signed by Author. Salinger, J.D. THE CATCHER IN THE RYE. Signed. Boston: Little Brown, 1952. A fine SIGNED copy of the March, 1952 reprint of the first edition. [The first issue was July, 1951]. 8vo., 277pp., black cloth, gilt. Salinger's remarkable first book, neatly signed in black fountain pen at the top of the title page. An excellent example of Salinger's elusive signature - The binding is fine; the dustwrapper very good or better with the $3.00 price present & nine reviews on the back panel replacing Salinger's photo after the first few early printings at his insistence. Custom clamshell case in very fine condition. The probable High Spot in Modern American Lit collecting, "The Catcher In The Rye is undoubtedly a 20th-century classic. It struck a popular note, particularly with young readers, who strongly identified with Holden Caulfield and his yearning for lost innocence. Salinger's novel was, and continues to be, a phenomenal success" (Parker, 300). "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer. The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failures of the adult world. The young used many voices-anger, contempt, self-pity-but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess, 99 Novels , 53-4). Signed by Author.

First edition. "In American writing, there are three perfect books, which seem to speak to every reader and condition: Huckleberry Finn, The Great Gatsby, and The Catcher in the Rye. Of the three, only Catcher defines an entire region of human experience: it is - in French and Dutch as much as in English - the handbook of the adolescent heart" (Gopnik). The first issue jacket, as here, has Salinger's hair touching the upper edge of the rear panel and the $3.00 price correctly placed over the "R" of Catcher on the front flap, rather than hanging off to the right. Adam Gopnik, "J. D. Salinger", The New Yorker, 28 January 2010. Octavo. Original black cloth, spine lettered in gilt. With dust jacket by Michael Mitchell. Ends and corners a little worn, foxing and slight black dye transfer to edges; jacket unclipped, spine sunned, rubbing and a few chips to edges, repaired closed tear to foot of front panel: a very good copy in like jacket.

Unknown. Condition: Near Fine. This contract between reclusive author J.D. Salinger and Norwegian publisher J.W. Cappelens Forlag was executed April 29, 1974. Signed by Salinger, it is 2 pages printed and typed on both sides of a single 8.5 x 14 inch leaf. The last three clauses reflect Salinger's insistence on control over the appearance and presentation of his work, prohibiting the publisher from using reviews or any text not by author on the book, nor use his photograph either on the book or in its promotion, and that the cover and jacket must receive the author's approval (which he would refuse if an illustration was employed). In a custom wood frame (20 x 19 inches) with 3-window archival matte, with portrait and printed quote from the text. Upon buyer request, this may be shipped unframed.

2 pp recto and verso, printed contract completed in type carbon, countersigned by publisher's representative and two witness, a few ink and pencil annotations. Folio. A signed copy of the contract for the Portuguese-language rights of The Catcher in the Rye, made between Salinger and the Lisbon publisher Livros do Brasil, ten years after the book's original publication. Rights are granted for publication in Portugal only, and do not extend to Brazil. The Portuguese edition was published under the title Uma Agulha no Palheiro (A Needle in the Haystack), in a translation by João Palma-Ferreira. A Brazilian edition appeared in 1965 under the title O Apanhador no Campo de Centeio (The Catcher in the Rye), which differed substantially from the Lisbon edition. Single sheet standard printed contract of Franz J. Horch Associates, Author's Representatives. Old folds, wear at upper left margin, a few tiny edge tears 2 pp recto and verso, printed contract completed in type carbon, countersigned by publisher's representative and two witness, a few ink and pencil annotations. Folio.

2 pp recto and verso, printed contract completed in type carbon, with stapled quarter sheet addendum bearing ink signatures of Salinger and Claire Salinger (as witness). Folio. A signed copy of the contract for the Portuguese-language rights of The Catcher in the Rye, made between Salinger and the Brazilian publisher Editora Nacional, twelve years after the book's original publication. Rights are granted for Brazilian publication only, and do not extend to Portugal or the rest of Europe. The final three provisions on the contract, which appear as a stapled addendum, testify to Salinger legendary control over his image, stipulating that "no reviews or quotations from reviews" and "no introductory comments or prefaces" be used on the jacket; that "no photograph may be used on the cover or jacket or in any connection with this book," and that "no biographical material may be used for promotion or advertising"; and finally that "the cover and dust jacket of the book must be submitted for the author's approval." The contract is signed by Claire Salinger, the author's second wife, as witness. The Brazilian edition appeared in 1965 under the title O Apanhador no Campo de Centeio (The Catcher in the Rye), in a joint translation by Álvaro Alencar, Antônio Rocha e Jório Dauster. This differed substantially from the edition brought out in Portugal under the title Uma Agulha no Palheiro (A Needle in the Haystack). Single sheet standard printed contract of Franz J. Horch Associates, Author's Representatives. Old folds, a few small pinholes 2 pp recto and verso, printed contract completed in type carbon, with stapled quarter sheet addendum bearing ink signatures of Salinger and Claire Salinger (as witness). Folio.

Early printing, printed in the year of publication of the author's classic novel. Presentation copy, inscribed by the author in the year of publication on the front free endpaper, "December 24, 1951 To Elizabeth Fueller- with best wishes J.D. Salinger." Salinger's signature is scarce and signed examples of The Catcher in the Rye are rare. Very good in a very good supplied dust jacket. Jacket design by Michael Mitchell. Photograph of Salinger by Lotte Jacobi. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. Exceptionally scarce, most rare and desirable inscribed and in the year of publication. Since his debut in 1951 as The Catcher In the Rye, Holden Caulfield has been synonymous with "cynical adolescent." Holden narrates the story of a couple of days in his sixteen-year-old life, just after he's been expelled from prep school, in a slang that sounds edgy even today and keeps this novel on banned book lists. It begins,"If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them.".

[Literature] Salinger, J.D. American author of Catcher in the Rye. Typed letter signed from Salinger to his friend Eileen Paddison. January 25, 1972. One page, typed on Salinger's characteristic goldenrod paper, signed boldly in ink at the foot: "Love to you, Eileen - Jerry." A letter chronicling friendship between Salinger and Paddison, in which Salinger relates to their "sameness", and provides personal insight on subjectivity and "truth". Salinger would characterize the relationship between himself and Eileen in 1975 as one between "a brother or sister, or some kind of close blood relative anyway", one born of warmth and mentorship which mirrored the sibling bond of Holden and Phoebe Caulfield and Franny and Zooey Glass. A deeply personal letter from J.D. Salinger to Eileen Paddison, written just weeks after their correspondence began in late 1971. At this point Paddison was a young college student and aspiring writer who had approached Salinger about Zen, Taoism, and the spiritual questions embedded in Franny and Zooey, themes that had become central to his private life. This January 1972 letter is one of the earliest to survive from their remarkable epistolary friendship. Exceptionally, Salinger closes this letter with "Love to you," a warmth he very rarely expressed in writing and almost never in letters to non-family. Its presence here, so soon after their acquaintance, testifies to the immediate and unusual closeness he felt toward Paddison. The letter features Salinger's characteristic blend of humor, candor, private philosophy, and autobiographical detail. Reflecting on the "sameness" between himself and Eileen, a theme that would only deepen over their years of correspondence, he writes: "Oh, God, life is full of some pretty funny stuff off and on. And there are moments, I have a notion, when there are echoes of sameness between us, maybe having to do with our matching awkward 'background'. Who do little kids who are self-described "best friends" do?.a form of narcissism, in a real sense, but more complicated than that." He discusses Taoist and Zen inflections in his thinking through an anthropological lens, mentioning beauty standards in other nations, he questions "Is there any possibility of "truth" in this world when vantage points and reasoning powers depend so heavily on conditioning, heredity, culture, language, geography, etc.? Almost none." The sense of epistemological skepticism, of truth mediated through perception, echoes the teachings of Taoist thinkers such as Chuang-tzu, whose relativistic parables informed Salinger's later spiritual worldview. Salinger's reflections on academia in this January 1972 letter reveal how quickly he perceived in Eileen Paddison a biographical and emotional mirror, grounded in their shared experience of feeling like outliers within educational institutions rather than beneficiaries of them, and this recognition is inseparable from the imaginative terrain of The Catcher in the Rye. His recollection-"I went to an awful, fourth-class boarding school. it couldn't have been worse, but it was full of misfits, kids that didn't fit in anywhere"-closely parallels Holden Caulfield's scathing assessments of Pencey Prep, where hypocrisy, cruelty, and emotional vacancy define the school environment and leave Holden drifting between expulsion and psychic collapse. Salinger's own progression from a series of unhappy boarding schools to the Valley Forge Military Academy, with its emphasis on regimentation, surveillance, and obedience, provided the experiential core for Holden's alienation: the sense that schools function less as places of moral development than as systems designed to enforce conformity and punish sensitivity. In the letter, Salinger's observation that "If one's going to be away at school or in prison or in the Army, it's only fair that a few congenial types be around" echoes Holden's repeated longing for authentic human connection amid institutional emptiness-whether in hi. Signed.