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Displayed below are some selected recent viaLibri matches for books published in 1959

        Pavot plein rouge

      Edition 60 numbered copies printed on Arches paper. Book illustrated with 8 original-dry ends of Jacques Pajak. Signatures of Jacques Monnier and Jacques Pajak to the justification of the draw. boards of the shirt slightly and marginally insolated without gravity, a small pen marks on the case. Nice copy. Maurice Bridel Lausanne 1959 17x25cm en feuilles sous chemise et étui

      [Bookseller: Librairie Le Feu Follet]
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        Raise High the Roof Beam, Carpenters and Seymour An Introduction.

      Boston, Little, Brown, 1959 - Boston, Little, Brown, 1959, first edition, dust jacket. Hardcover. With "Seymore" instead of Seymour on page 173, first issue without the dedication page, only a handful of these first issues have been reported. Fine. [Attributes: First Edition; Hard Cover]

      [Bookseller: James M. Dourgarian, Bookman ABAA]
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        NUOVE ARCHITETTURE A MILANO

      HOEPLI, 1959. INTERLINGUE 1,72 426 illustrazioni in nero, 56 a colori, 475 disegni, pagine lievemente ingiallite ai bordi, in italiano ed inglese, coperta editoriale cartonata, verde ai piatti e grigia al dorso, con titoli d'oro sia al piatto che al dorso, con ingiallimento ai bordi e con lievissimi segni di usura, sovraccoperta illustrata, ingiallita, con usura e strappetti ai bordi USATO

      [Bookseller: Biblioteca di Babele]
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        Il menabò. Anni 1959-1967

      Einaudi, 1959. Con i contributi, molti in prima edizione, di Lucio Mastronardi (Il calzolaio di Vigevano), Carlo Emilio Gadda, Amelia Rosseli (Ventiquattro poesie), Pier Paolo Pasolini, Eugenio Miccini, Vittorio Sereni (Una visita in fabbrica), Elio Vittorini (Industria e letteratura), Stefano D'Arrigo (I giorni della fera), Italo Calvino (Il mare dell'oggettività), Roberto Roversi (La raccolta del fieno), Franco Fortini, Elio Pagliarani (La ragazza Carla), Paolo Volponi, Edoardo Sanguineti (Poesie e uno scorcio di romanzo), Umberto Eco e moltissimi altri. 10 volumi. 8vo. pp. Circa 250/fascicolo. . Molto buono (Very Good). . Tutto il pubblicato Numeri 1-10. .

      [Bookseller: Studio Bibliografico Marini]
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        VITA DI NAPOLEONE

      BORINGHIERI, 1959. ITALIANO 0,37 Traduzione di Piero Bertolucci, n. 20 della collana diretta da Giorgio Colli, firma appartenenza a matita all'occhiello, pagine intonse ed in buonissimo stato di conservazione, brossura editoriale morbida, con alette, leggermente ingiallita e con bordi stanchi, angolo con prezzo ritagliato USATO

      [Bookseller: Biblioteca di Babele]
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        INTERPRETAZIONE DELLA NATURA E PRINCIPI FILOSOFICI SULLA MATERIA E IL MOVIMENTO

      BORINGHIERI, 1959. ITALIANO 0,17 Traduzione di Gianfranco Cantelli, n. 22 della collana diretta da G.Colli, brossura editoriale morbida lievemente ingiallita, con lunghe alette, con bordi stanchi e lievi segni del tempo, pagine in buonissimo stato di conservazione USATO

      [Bookseller: Biblioteca di Babele]
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        [The Snopes Trilogy, comprising:] The Hamlet; The Town; The Mansion

      New York: Random House [through 1959], 1940. First Edition. Hardcover. Fine-/Fine-. Three First Printings (so stated). 8vo: [8],421,[1]; [8],371,[1]; [12],436pp. The Hamlet: Publisher's black cloth, spine and upper cover ruled in red and lettered in gilt, top edge stained red, full-color pictorial title page; second-issue pictorial dust jacket (four reviews excerpted on back panel), with particularly vibrant front panel, priced $2.50. About Fine (spine gilt slightly dulled) and apparently unread, in about Fine jacket with brief edge wear. The Town: Publisher's first issue claret-colored binding, with line 8 repeated on line 10, p. 327, spine and upper cover lettered in gilt and ruled in blue-grey, top edge stained blue-grey, grey threaded end papers; first issue pictorial dust jacket (with 5/57 publisher's code on front flap), priced $3.95. Fine (barring small collector's label on upper corner of front end paper), square and tight, gilt lettering sharp and bright; about Fine jacket barely rubbed to toe of spine panel. The Mansion: Publisher's blue coarsely woven cloth, upper cover and spine ruled in grey and lettered in gilt, top edge stained yellow, blue end papers; first-issue pictorial dust jacket, price $4.75, with publisher's code "10/59" on front flap and author's photograph by Ralph R. Thompson on back panel. Fine, in equally Fine jacket. Petersen A22.1d, A47.1b, and A52.2b. Burgess 99, p. 73. A superb set of Faulkner's masterful trilogy. The Snopes novels had their origin in the 1920s, in stories swapped back and forth between Faulkner and Phil Stone, an Oxford, Mississippi, attorney, about the rise of poor whites in social, political, and economic competition with the old Southern aristocracy. The series traces the rise of the Snopeses in Frenchman's Bend and Jefferson, Yoknapatawpha County, Mississippi. In The Hamlet, Flem Snopes, a ruthless redneck who marries the earth goddess Eula, is established as the trilogy's keystone. In The Town, Flem leaves Frenchman's Bend for Jefferson, where he gains control of the Sartoris bank and installs other scheming Snopeses in positions of power. Finally, in The Mansion, Flem is killed by Mink, the cousin he framed into a lengthy prison sentence. Malcolm Cowley, in his New Republic review of The Hamlet, judged it to be "a new sort of novel for William Faulkner, less somber, more easygoing and discursive. Except for a few short stories, it makes better reading than anything else he has written since Sanctuary." (The Literary Encyclopedia) And Burgess noted, "Turgid and difficult as he is, Faulkner is worth the trouble." Note: With few exceptions (always noted), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves.

      [Bookseller: Fine Editions Ltd]
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        The Breaking Point - with SIGNED letter

      Gollancz, 1959. Hardcover. Near Fine. A first edition, first printing published Gollancz in 1959. A near fine book without inscriptions in a very good unclipped wrapper. Accompanied by a letter from the literary editor and critic Denys Val Baker, with a short inquiry about a short story of Du Maurier's, 'The Blue Lenses'. Du Maurier has typed a reply (and edited this) at the foot of the letter (dated Thursday 9th March 1978) - 'Dear Denys, Forgive this hasty method of reply: Mass of mail to answer. Yes, The Blue Lenses was published in States 1959 in a collection title of which was 'The Breaking Point'. Cant remember if also in any magazine there. Yours, Daphne (SIGNED). Rare signed letter.

      [Bookseller: John Atkinson Books]
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        More About Paddington

      Collins, 1959. Hardcover. Fine. A first edition, first printing published by Collins in 1959. A fine book without inscriptions - a superb example. In a very good+/near fine unclipped wrapper with a little wear to the spine tips and one small internal repair. The scarce second Paddington adventure.

      [Bookseller: John Atkinson Books]
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        Gu gong ming hua san bai zhong].Three Hundred Masterpieces of Chinese Painting in the Palace Museum.

      ????/??????????. Joint Board of Directors of the National Palace Museum and the National Central Museum. ?????[1959]., ??. Taichung. - Complete in 6 volumes presented in two cases. 300 plates in black and white and colour of which 46 are colour tipped-in plates. Description of each plate in Chinese and English on opposite leaf or on accompanying tissue guard. Each volume is bound in a tradional Chinese string binding with silk covered covers. 44 x 31.5. Lower section of lower cover volume 6 lightly damp stained, lower edge of last 25 pages show a small damp stain on the lower edge which is barely noticeable on the lower margin of the leaf. Cases damp stained and their cloth somewhat torn in places, one toggle loose, but fortunately the volumes themselves are in very good condition. A handsome set showcasing the pictures from "National Palace of Peiping now housed in Taichung, Formosa" many of which had not been reproduced before this limited edition was published. An essay by Chia-Luen Lo entitled "An Approach to the Appreciation of Chinese Painting" follows the introduction by the editor. Number 0581 of a limited edition of 1500 copies. [Attributes: Hard Cover]

      [Bookseller: Asia Bookroom ANZAAB/ILAB]
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        70 grabados sobre el Quijote (Teodoro Miciano) Ediciones Jurado

      Ediciones Jurado 1959 - 37 copias en papel japón 33 copias en papel ahuesado La obra está considerada como una de las ediciones mejor ilustraciones de la obra cervantina El artista es considerado uno de los punteros en la historia del sello y la moneda española durante el siglo XX, sobre todo como excelente grabador en la Fabrica Nacional de Moneda y Timbre -aporta un dibujo preciso e introduce de manera fidedigna composiciones sencillas y de gran potencia expresiva en sus obras de huecograbados-. Algunos grabados presentan alguna pequeña deformacion en alguna esquina, en general muy buen estado

      [Bookseller: castlebooksbcn]
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        Evelyn Waugh Autograph Postcard signed 'EW' to Rev. R. Selby, 1959

      Author - Autograph postcard from Waugh to Rev R Selby 89 x 140mm., on card headed Combe Florey House, Nr. Taunton, postmarked 29th October, 1959, discussing Ronald Knox : "I agree that interest in R.A.K. will grow & that one day a complete edition will appear of all his letters & writings, probably in America. I am not the man to edit it", framed and glazed, with verso visible through rear glazing. A handsomely framed postcard in excellent condition. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: finecopy Ltd PBFA]
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        Arabian Sands.

      London: Longmans, Green and Co. Ltd.,, 1959. Octavo. Finely bound by the Chelsea Bindery in terracotta morocco, raised bands, titles to spine gilt, dark green endpapers, gilt edges. Frontispiece and 46 plates, 8 maps to the text, some full-page, folding map loosely inserted. A fine copy. First edition. This was Thesiger's first book and "and, in his opinion, his finest" (ODNB) "During the years that I was in Arabia I never thought that I would write a book about my travels … Seven years after leaving Arabia I showed some photographs I had taken to Graham Watson and he strongly urged me to write a book about the desert. This I refused to do … The following day Graham Watson came to see me again, and this time he brought Mark Longman with him. After much argument the two of them persuaded me to try to write this book. Now that I have finished it I am grateful to them, for the effort to remember every detail has brought back vividly into my mind the Bedu amongst whom I travelled, and the vast empty land across which I rode on camels for ten thousand miles" (Introduction).

      [Bookseller: Peter Harrington]
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        Sancta Maria de Anima - Romae. Erste und Zweite Gründung

      Herausgegeben im Auftrag der Anima. - Mit Druckerlaubnis des Erzbischöflichen Ordinariates Wien, Oktober 1959. Buch am Schnitt etwas stockig, Schutzumschlag leicht berieben und ebenfalls leicht stockig. Tadellose Bindung. Beiliegend eine Visitkarte / Widmungskarte vom Rektor der Anima Prälat Dr. Franz Wasner Rom, mit handschriftlichem Gruß + Unterschrift. -- Franz Mathias Wasner (geb. 28. Dezember 1905 in Feldkirchen bei Mattighofen verst. 21. Juni 1992 in Salzburg) war künstlerischer Leiter der Trapp Family Singers und Missionar. -- Franz Wasner wurde 1929 von Erzbischof Ignatius Rieder zum Priester geweiht. Anschließend studierte er Kirchenrecht in Rom. Sein musikalisches Talent konnte er in der Villa von Georg von Trapp in Aigen bei Salzburg demonstrieren und begleitete in Folge die Trapp-Familie nach der Besetzung Österreichs durch die deutsche Wehrmacht auch in die Emigration und war darüber hinaus auch geistlicher Beistand der Familie. Das über 150 Stücke umfassende Repertoire der Trapp Family Singers wurde meist von Franz Wasner arrangiert. Nach der Auflösung des weltbekannten Chors ging Wasner als Missionar auf die Fidschi-Inseln und später als Rektor des Collegio Teutonico di Santa Maria dellAnima erneut nach Rom. 1972 wurde er Mitglied des Salzburger Domkapitels und komponierte weitere Musikstücke. Seine Heimatgemeinde Feldkirchen bei Mattighofen machte ihn zum Ehrenbürger. -- 200 Seiten. Auf fliegendem Vorsatz Namenseintrag (Exemplar stammt aus dem Vorlass eines Botschafters i. R.) - Bankverbindungen in Österreich und Deutschland.

      [Bookseller: Antiquariat Birgit Gerl]
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        Chronique

      Les cahiers du sud 1959 - - Les cahiers du sud, Marseille 1959, 14,5x23,5cm, broché. - Edition originale hors commerce imprimée à 100 exemplaires numérotés sur pur fil, seul tirage avec quelques exemplaires d'auteur, le nôtre imprimé spécialement pour Thomas Stearns Eliot. Précieux envoi autographe signé de Saint-John Perse à son ami et traducteur pour les Etats-Unis Allen (Tate) : " Pour vous, mon cher Allen, en bien vive et profonde admiration". Dos et plats légèrement et marginalement passés, deux petites déchirures sans gravité en tête et en pied du dos. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition, hors commerce, printed in 100 numbered copies on pur fil paper, the only printing with a few copies for the author, this one specially printed for Thomas Stearns Eliot. Handsome autograph inscription from Saint-John Perse to his friend and U.S. translator, Allen (Tate) : " Pour vous, mon cher Allen, en bien vive et profonde admiration [for you, my dear Allen, with lively and profound admiration]". Covers and spine slightly and marginally faded, two small insignificant tears to head and foot of spine. % [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        THE GALTON CASE

      New York: Alfred A. Knopf, 1959. First edition. A near fine copy, some dustiness to top edge with some light fade to top stain, some light foxing to end papers, light shelf wear in a near fine dust jacket, touch of shelf wear, touch of color fade to pink color in design on spine panel, very light foxing to flaps. A very nice copy. (8537). Octavo, boards. Signed by Millar. A Lew Archer novel. "Cumulatively exciting, beautifully plotted and written with taste, perception and compassion." - Anthony Boucher. "...a mystery that turns upon multiple questions of inheritance and identity." Nolan, Ross Macdonadl: A Biography, pp. 198. Pederson (ed.), St. James Guide to Crime and Mystery Writers, (4th ed.), pp. 676-678.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        [Seven Vintage Hong Kong Police Department Photographs Used as Illustrations in Hess's "Chasing the Dragon: A Report on Drug Addiction in Hong Kong" (1965)]

      Hong Kong: np, [ca. 1959]. Fine. Seven glossy back and white photographs produced by the Hong Kong Police Department's Narcotics Bureau. Each photo approximately 5" x 7", mounted, captioned, and credited on a page of original manuscript (all images credited to H.K. Government Information Services, dated 1959), with instructions for placement below test. Fine condition. A copy of Hess' finished book is also provided. A group of rarely seen images documenting heroin use and manufacture during the height of Hong Kong's dominance in the 1950s world heroin trade and prepared for use in Albert Hess' 1965 book CHASING THE DRAGON (provided). Photos are titled "Woman Smoking Heroin by "Chasing the Dragon," "Heroin Divan Built of Bamboo and Matting in Dense Undergrowth on a Hillside," "Heroin Users Preparing to Smoke in a Divan," "Paraphernalia of a Hong Kong Heroin User"; "Heroin Factory in the Bathroom of a Hong Kong House"; "Another Heroin Factory in a Home"; "Roof Dwellers On Top of an Apartment Building in the Wan Chai District of Victoria." There were no fewer then 15 illustrations total in Hess' finished work, so these seven images are by no means complete. However, they do show several revisions in captioning and pagination from final published version. A compelling and frank visual documentary account of 1950s drug culture.

      [Bookseller: Brian Cassidy, Bookseller]
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        2 poesie di Giuseppe Ungarreti

      Vanni Scheiwiller 1959 - - Vanni Scheiwiller, Milano 1959, 11,5x14,5cm, une feuille rempliée. - Edition originale pour laquelle il n'a pas été tiré de grands papiers. Envoi autographe daté et signé de Giuseppe Ungaretti à Gaëtan Picon en tête du premier feuillet. Rare et agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition for which it was not taken from large papers. autograph dedication of the author autograph signed and signed by Giuseppe Ungaretti to Gaëtan Picon at the head of the first sheet. Rare and pleasant copy. [Attributes: First Edition; Signed Copy]

      [Bookseller: Librairie Le Feu Follet]
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        Unknown Shore, The

      Rupert Hart-Davis, London 1959 - First Impression; 8vo, 256pp. Fine publisher's red cloth, the spine lettered in black; in a just about Fine (spine tips rubbed with no loss) first-state dust jacket (priced at 15s) without a trace of fading to the spine panel and very uncommon thus. One of the two historical novels O'Brian wrote for juveniles and a forerunner of the Jack Aubrey series. Note: With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed. [Attributes: First Edition; Hard Cover]

      [Bookseller: Fine Editions Ltd]
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        The Same Door: Short Stories [Review Copy]

      New York: Alfred A. Knopf, 1959. First Printing. Hardcover. As New/Fine. First Edition (so stated) of the author's first collection of stories—sixteen in number—published one year after his first novel, The Poorhouse Fair. 8vo: [10],242,[4]. Publisher's turquoise quarter-bound cloth, chestnut-brown paper-covered boards, spine and upper cover stamped in silver, top edge stained lime-green; first issue dust jacket, priced $3.75, with reviews for The Poorhouse Fair on back panel. Laid in is Knopf's date-of-publication notice. An exemplary example, virtually pristine, square, tight and unread, silver lettering and top stain undiminished, pages fresh and bright. These stories appeared originally in the New Yorker in the order in which they appear here. "Ace in the Hole" prefigures Rabbit, Run in having an ex-high school basketball star now married with a child. "Snowing in Greenwich Village" is the first story to feature the Maples, Joan and Richard, whose stories were later collected in Too Far to Go. "Stylistically, [Updike's] early stories were directly influenced by the New Yorker itself, where they primarily appeared. The two writers most associated with the magazine at this time, J. D. Salinger and John Cheever, exerted particular influence on Updike's style and approach. . . . [S]uch early pieces of marital life as “Snowing in Greenwich Village” evoke Cheever's elegant tales of spousal tension and middle-class comfort. At the same time, Updike was every bit his own writer, even early on, looking for deeper inspiration not in his contemporaries but rather in the European Modernists who immediately preceded him, chiefly James Joyce, Marcel Proust, Henry Green and Vladimir Nabokov. Specifically, Updike's lyrical, baroque prose style, as well as his penchant for complex formal design, can be traced directly back to those Modernist masters, all of whom get name-checked in one way or another in the early work." (Literary Encyclopedia) Note: With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd]
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        A Raisin in the Sun

      Random House 1959 - New York: Random House, 1959. First edition. Hardcover. 142 pp. Near fine, in very good unclipped jacket. Prior owner name penciled to front free endpaper. Jacket shows light soil, a little toning to the spine. [Attributes: First Edition; Hard Cover]

      [Bookseller: Stick Figure Books (ABAA/ILAB)]
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        François d'Assise

      First edition on ordinary paper.An important autograph inscription from Joseph Delteil, full-page, to his friend Maurice Martin du Gard.A very good copy. Flammarion Paris 1959 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Harley Davidson Motorcycle contract signed by Walter C. Davidson, President of the iconic firm - perfect for the free road lover!

      Milwaukee, Wisconsin, March 31, 1959. 8.5" x 14". "Standard early dealer agreement contract between Harley-Davidson and Pennsylvania dealer ""Paul W. Haines"", ""dba Haines Harley-Davidson Sales"". Dated ""March 31, 1959"". On yellow paper, 8.5' x 14"". Signed by Walter Davidson as ""Walter Davidson"", Vice President of Sales for Harley-Davidson Motor Co. Expected folds, else fine condition. A great example of HOG memorabilia.A clean, crisp example of an original dealer contract between Harley-Davidson and a dealer doing business in ""Northumberland and Union counties in Pennsylvania"". Executed 10 years before the company merged with AMF. The contract contains the typical clauses concerning such examples in part as found below:1. Place of Business and sales Effort2. Use of Seller's Name3. Service and Parts4. Execution of Orders5. Price Change6. Inferior Parts and Oil7. Sub-dealers8. Termination9. Default10. AssignabilityOf additional interest is the importance of instilling strong brand and quality control, Harley-Davison also required that ""The Dealer agrees not to use in repairing or servicing .. Substitute functional part ...and agree to not sell, or offer to sell or use in repair of Sellers products as genuine Harley-Davidson parts or oil which are not in fact genuine Harley-Davidson parts or oil ...""Harley-Davidson is one of the few companies that has managed to survive and reinvent themselves during a massive 115 plus year run. Accomplished by trials and errors, altering the way they do business, surviving buy-outs, to mergers, to turn arounds, to even seeking governmental intervention from the Japanese dumping of product in 1983, and ultimately going public on the New York Stock Exchange in 1986, they have survived and thrived. They went from a product of excellence, to a product of mass production with cheap parts, and back again to a product of excellence, using a different inventory and part strategy. The morphing of this company has allowed them to endure bust and boom economic cycles, invasion of cheap imports, and near bankruptcy. The Harley brand is certainly it's own metaphorical example of riding a long hard road enduring much transition to ultimately finding a successful and competitive business strategy!This all-in near fine gorgeous dealer contract, signed by John Davidson is a great piece of HOG memorabilia for the free riding spirit. There are more Harley Davidson quotes than could probably fill an entire book, but below are a few that define the brand:""Live By It""""Therapy is Expensive, Wind is Cheap""""Don't Fear Dying, Fear Not Living""""Life is Not About Waiting for the Storms to Pass, it is about Riding in the Rain""""Traveling in a Car is like watching a Film, Riding a Motorbike is Like Staring in it""""First Learn the Rules, Then Break Them""""The Best Path Through Life is One on the Open Road""** An overview of the earlier days of the company's path leading up to the late 1990's and through the time it went public is shown below:The only motorcycle manufacturer in the United States, Harley-Davidson, Inc. has been designing heavyweight machines for bike enthusiasts for almost a century. The company is legendary for the great loyalty its vehicles have inspired in generations of cyclists.Early 20th-Century OriginsThe first Harley-Davidson motorcycle was built in Milwaukee, Wisconsin--still the location of the company's headquarters--in the early 1900s. The Davidson brothers--William, Walter, and Arthur--along with William S. Harley, designed and developed the bike and its three horsepower engine in their family shed. The machine went through many refinements until 1903, when the men established the Harley-Davidson Motor Company and produced three of their motorcycles for sale. Over the next several years both demand and production grew at a healthy rate, and by 1907 the company had begun to advertise.Two years later the company produced a new model featuring a V-twin engine that produced a low, deep rumble now identified as the signature Harley-Davidson sound. The revolutionary engine--still a company standard enabled riders to reach speeds of 60 miles per hour, which until that time had been believed impossible. Such capabilities served to set the company's motorcycles apart from the competition; by 1911 there were 150 other companies manufacturing the vehicles.Growth During and Following World War IThe onset of World War I was actually a boon for Harley-Davidson. The motorcycle, having done well in its utilization by police, was commissioned for use by the military. It proved especially useful on the U.S.-Mexico border, which was suffering incursions by the forces of Mexican revolutionary leader Pancho Villa. In all, 20,000 of the company's machines were employed by the U.S. infantry during the war.Henry Ford's introduction of the assembly line, on which he could quickly and inexpensively produce his Model T automobile, had a profound effect on the motorcycle industry. While motorcycles had traditionally been used by workers and businesspeople, the more affordable car became their vehicle of choice. The motorcycle, in the meantime, was gradually becoming a recreational vehicle.The Superbike Era: 1950s and 1960sAs the second generations of the founding families began moving into management positions at the company, Harley-Davidson found itself ""king of the road""--with the shutdown of Indian in 1953, the company became the sole American motorcycle manufacturer. Continuing to prove itself a design innovator, the company introduced its Sportster model in 1957, heralding the era of the all-powerful, throaty ""superbikes."" An entire subculture began to grow up around these motorcycles, and leather jackets and riding boots became as much a statement of one's desire for a life of freedom on the open road as a necessity for motorcycling. Unfortunately, the filmThe Wild One, starring Marlon Brando, depicted biker gangs riding Harley-Davidson motorcycles as packs of lawless renegades. The stereotype that grew out of this is one the company still actively strives to dispel.In 1965 Harley-Davidson went public when the two families decided to give up control and put the company's shares on the market. Four years later the company was bought by the American Machine and Foundry Co. (AMF), a leisure equipment manufacturer headed by Harley-Davidson fan Rodney C. Gott. The arrangement proved, at least initially, to be a good one for Harley-Davidson, for it was also in the 1960s that the company experienced its first competition since Indian went out of business. The financial resources and stability that AMF was able to provide helped the company battle Japanese motorcycle manufacturers, who had begun exporting their vehicles around the world, placing themselves in direct competition with Harley-Davidson.Problems and Corrective Measures: The 1970s and 1980sDemand for motorcycles continued to grow through the early 1970s, and, in an effort to keep up, the company opened an assembly plant in York, Pennsylvania, in 1974. While engines would still be made in the Milwaukee facilities, the bikes themselves would be assembled in the new plant. In 1975 AMF put Vaughn Beals at the head of Harley-Davidson, and Jeff Bleustein was named chief engineer. Bleustein was charged with making manufacturing improvements, which were becoming increasingly necessary as production grew.These efforts added an extra $1,000 in costs to each bike, however, and the profit line suffered as a result. To compensate, AMF management began to apply pressure for greater sales volume, with the result that quality began to suffer. The production standards that customers had come to count on were being lowered, and there were chronic shortages of parts, with the result that as many as 30 percent of the vehicles coming off the assembly line were incomplete. This, in turn, meant extra manpower searching for spare parts to finish outfitting the machines, a task that even fell to dealers on those occasions when incomplete bikes were accidentally shipped.Such problems took their toll on the company, especially in light of rising Japanese competition. In 1969 Harley-Davidson had enjoyed an 80 percent share of the U.S. motorcycle market for super heavyweight machines--bikes with engines over 850 cubic centimeters (cc). Ten years later, just when Honda Motor Co. was opening a plant in Marysville, Ohio, that share had dropped sharply to 20 percent. While there were still some riders who would settle for nothing but a Harley-Davidson motorcycle, newcomers to the motorcycle market were opting for Japanese affordability and dependability.To make matters worse, the 1981 recession severely threatened Harley-Davidson's share of the market for heavyweight bikes--motorcycles with engine capacities of 700-850 cc--nearly finishing the company off as a manufacturer. Soon AMF began to lose interest in keeping the struggling business afloat. To save the company, and to effect a turnaround, 13 Harley-Davidson executives, led by Vaughn Beals, put together a plan for a leveraged management buyout. With the financial support of Citicorp, the management team succeeded in taking control of Harley-Davidson from AMF on June 16, 1981, at a cost of $81.5 million.The group's turnaround strategy called for getting back on the quality track through new management and manufacturing techniques. Unable to beat them, Harley-Davidson instead decided to join their Japanese competition, adopting such management techniques as decentralized quality discussion groups and ""just-in-time"" inventory control. After the company's top management toured Honda's Marysville plant in 1981, Vaughn Beals noted in Fortune,""We were being wiped out by the Japanese because they were better managers. It wasn't robotics, or culture, or morning calisthenics and company songs--it was professional managers who understood their business and paid attention to detail."" In an effort to do likewise, management at the York plant developed three principles for change: worker involvement, manufacturing materials available as needed, and statistical operator control.One of the first steps Harley-Davidson took was to group the employees in a plant-wide network to ensure their input in improving the manufacturing process. The York plant management met with workers' representatives for months in 1981 to achieve a consensus on what was sought and also to ease skepticism. The increases in productivity stemming from these measures were deemed to be the effects of effective communication, shop floor enthusiasm, and increased recognition.The second point of the revitalization program involved managing the company's inventory. A program of just-in-time inventory control called MAN--Material As Needed--was developed, based on Toyota Motor Corporation's Toyota Production System. The plan called for the use of expanded communication in monitoring the flow of inventory. Harley-Davidson also introduced a statistical operator control system to improve quality control. The aim was to reduce defects and scrap by reworking machines right on the assembly line. The process began with the operators, who established parameters for quality using statistical methods. Then workers along the assembly line would chart actual quality and introduce improvements where warranted.During the early 1980s, the company began making cosmetic changes to its motorcycles, prompted by Vice-president William G. Davidson, grandson of the founder. Davidson, who felt it was important to remain close to the bike maker's customers and their needs, would often mingle with Harley devotees at gatherings, sporting his own beard, black leather, and jeans. As he explained in Fortune,""They really know what they want on their bikes, the kind of instrumentation, the style of bars, the cosmetics of the engine, the look of the exhaust pipes, and so on. Every little piece on a Harley is exposed, and it has to look right. A tube curve or the shape of a timing case can generate enthusiasm or be a turn-off. It's almost like being in the fashion business."" In addition to changing the look of established models, the company began to design new motorcycles to appeal to a broad range of consumers.Meanwhile, the competition was moving ahead. Though the recession of the early 1980s had depressed demand for heavyweight bikes, Japanese manufacturers swamped the U.S. market with their surplus inventory, driving average market prices down still further. In 1982, however, the company won an anti-dumping judgment from the International Trade Commission (ITC). This led then-U.S. President Ronald Reagan to impose additional tariffs on imported heavyweight Japanese models, as allowed by the ITC.The additional tariffs--45 percent on top of an existing 4.4 percent measure--were meant to decrease gradually over five years, until April 1988. These measures would give Harley-Davidson the opportunity to effect its revitalization plans. Predictably, as the company's market share began to increase, so, too, did its profits. Harley-Davidson had lost $25 million in 1982, but rebounded into the black again in 1983 before posting $2.9 million in profits on sales of $294 million in 1984. Though Japanese bike makers were able to elude some of the tariffs by building more machines in the United States, by 1986 Harley-Davidson's share of the U.S. super heavyweight market had crept back up to 33.3 percent, ahead of Honda for the first time since 1980.During this time, Harley-Davidson began placing more emphasis on its marketing efforts. In a 1983 public relations move, the company established the Harley Owners Group (HOG), a club with its own newsletter for fans of the motorcycle. By the end of the 1980s, membership in HOG had grown to 100,000 members. The company developed the SuperRide promotion, several years later; it was designed to attract large numbers of new buyers from an upscale niche. Television commercials invited people to visit one of Harley-Davidson's 600 dealers across the United States to test ride a new bike. Over 40,000 people took Harley-Davidson up on its offer. Though immediate sales did not cover the promotion's $3 million price tag, the effort did result in increased sales over the course of the next several years, and many of the new buyers were owners of rival Japanese models.Although Harley-Davidson was making great strides, the company suffered yet another blow in 1984. Citicorp--nervous that the economy was headed back into a recession, especially in light of the 1988 deadline on import tariffs--informed Harley-Davidson that in future years they would no longer provide overadvances--money over and above the conservative lending limits set as part of the company's business plan. Taking this as an indication that Citicorp wanted out of its arrangement with the company, Beals and Richard Teerlink, who was then the finance officer, began searching for another lender. Once word concerning Citicorp's plans got out, however, other banks showed little interest in making the commitment. By October 1985 Beals and his management team had contacted the investment firm Dean Witter Reynolds in order to begin Chapter 11 bankruptcy proceedings.Before those plans were finalized, Beals and Teerlink were approached by an interested lender. After weeks of hard bargaining, Heller Financial Corporation--whose second in command, Bob Koe, was a Harley buff--agreed to supply Harley-Davidson with $49 million to buy out Citicorp's stake in the business. Thus Citicorp was forced to take an $18 million write-down on its original investment. Heller Financial Corporation's faith in Harley-Davidson paid off handsomely. The company's market share began to climb steadily, and profits for 1986 topped $4.3 million on sales of $295 million. That year a revived Harley-Davidson went public, offering two million shares of stock worth $20 million and $70 million worth of unsecured subordinate notes that would mature in 1997."

      [Bookseller: University Archives]
 23.   Check availability:     Biblio     Link/Print  


        Art international. Volume III, 1/2 1959 - Volume 10 / 1966.

      Zürich. Art international. 1959-1966. 35 x 25 cm. Ca. 6000 S. OBroschur in OLeinen-Schuber. Von ausgezeichneter , frischer Erhaltung. Sammlung von 8 Jahrgängen der internationalen, aufwändig gestalteten Kunstzeitung für die Moderne und Avantgarde mit Texten in Deutsch, Französisch und Englisch. Enthalten ist in vollständiger Folge Jg. 3 / 1959, Heft 1/2 - 10 [9 Hefte]; Jg. 4 / 1960, H 1 - 10 [9 Hefte]; Jg. 5 / 1961, H.1 -10 [9 Hefte]; Jg. 6 / 1962, H. 1 - 10 [9 Hefte]; Jg. 7 / 1963, H. 1 - 10 [10 Hefte]; Jg. 8 / 1964, H.1 - 10 [9 Hefte]; Jg. 9 / 1965, H. 1 - 10 [9 Hefte]; Jg. 10 / 196, H.1 - 10 [10 Hefte] in zusammen 74 Heften, alle mit den Originalumschlägen in der Gestaltung der Künstler, in einheitlichen grauen Original-Leinen-Schubern. \"Art international\" ist nicht nur hinsichtlich der Berichterstattung in diesen Jahren mit einer Balance zwischen Tachismus, Informel und Pop Art, Nouveaux Realisme sowie Zero und teils frühen Beiträgen unter anderem über Yves Klein, Cy Twombly, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Louis Morris, Jasper Johns, Robert Motherwell, Jean Tinguely, Daniel Spoerri bis hin zu Gerhard Richter von großer Bedeutung für die damalige Kunstszene: Die unzähligen, oft ganzseitigen Anzeigen namhaftester Galerien wie Schwarz, Blu, Janis, Sonnabend, Clert, Castelli, Sperone, Schmela etc. verweisen auf frühe Ausstellungen u.a. von Warhol, Lichtenstein, Oldenburg, Johns, Klein, Twombly etc. Ein umfangreicher Beitrag von Paul Wember berichtet von der ersten institutionellen Ausstellung Yves Kleins in Krefeld, frühe, auch internationale Galerieausstellungen von Warhol und Lichtenstein werden besprochen. In dieser Dichte der wichtigsten Jahre und vor allem nahezu neuwertigen Erhaltung selten. Versand D: 3,00 EUR 20. Jahrhundert / 20th Century, Amerika / America, Europa / Europe, Kunstgeschichte / Art History, Zeitschriften / Journals, Informel, Nouveaux Realisme, Pop Art, Tachismus, ZERO

      [Bookseller: Antiquariat Querido - Kunst und Fotograf]
 24.   Check availability:     buchfreund.de     Link/Print  


        Bill Badger's Winter Cruise

      Hamish Hamilton, London 1959 - Dustjacket has closed tears at both top and bottom of front spine edge. some loss at both spine ends and open tear at front cover edge such that only small part of B in Books is left visible. Scuffed corners to jacket, which has been taped inside to end-papers - tape now discoloured. Some tape has been removed taking surface of paper, plus leaving reside staining on opposite pages. Spine ends of boards scuffed and worn though. School stamp on both end papers. Slightly cracked binding on title page, and very slightly loose eleswhere. Book has obviously been well-read as there are small light stains occasionally throughout. Page 77/78 has open tear at top corner removing a small amount of print. Book has slight lean [Attributes: First Edition; Hard Cover]

      [Bookseller: Metrognome Books]
 25.   Check availability:     IberLibro     Link/Print  


        Village de Gruyères. Vue intérieure.

      1959, 1959 - 32x26 cm Aquarelle signé ?Tinguely 59? en bas à droite. avec cadre dore (39x33cm). Oeuvre de jeunesse de Jean Lou Tinguely. Habitais dans le village de la Gruyère avec sa mère, dans la maison qui est actuellement le Musée Giger. Peintre de Paysages, natures mortes et intérieurs. (1937 Bulle, ? 2002 Châtel-St-Denis).Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. [Attributes: Signed Copy]

      [Bookseller: Harteveld Rare Books Ltd.]
 26.   Check availability:     ZVAB     Link/Print  


        Joan Miró : su obra gráfica (Signed with an original drawing by Miró)

      Barcelona : Sociedad Alianza de Artes Gráficas, 1959. Edition limited to 500 numbered copies. Quarto, pictorial cloth-covered boards, illustrated endpapers, unpaginated, illustrated throughout with colour and black and white reproductions of Miró's work; with an introduction by Sam Hunter, and a biography of the artist; some light foxing to outer leaves, but a very good copy. The title page is illustrated with an original drawing by Miró, an abstract image typical of Miró's style using five different coloured crayons, inscribed by Miró 'Sign. Giuseppe, cordialmente, Miró', and dated 7th October 1971.

      [Bookseller: Douglas Stewart Fine Books]
 27.   Check availability:     Direct From Seller     Link/Print  


        Goldfinger

      London: Jonathan Cape, 1959 First edition, first printing, first issue, second state, without "the small area of detail previously seen at the top left-hand section of the skull" on the front board. Publisher's black cloth with an illustration of a skull with fifty-dollar gold pieces in the eye sockets to the front board in blind and gilt, lettered in gilt; in the original pictorial dust jacket designed by Richard Chopping, with an illustration of a human skull with gold coins in the eye sockets and a single red rose in its teeth to the front panel, lettered in black. About near fine, with a slight lean to the spine, some light spotting to the page edges and endpapers, otherwise clean pages; unclipped dust jacket, with a few minor nicks to the spine tail, minor toning to the spine, some light soiling to the panels, faint rubbing to the folds. Overall, a bright and pleasing copy. Housed in a custom clamshell box. Gilbert A7a (1.2). Goldfinger features the villain Auric Goldfinger, the richest man in England whose wealth is stored in his namesake mineral- gold. Indeed, the symbol of gold plays an important role throughout the text; the name "Auric" comes from the chemical element symbol for gold "Au," and Goldfinger murders his ex-girlfriend by covering her body completely in gold. In this novel, Bond must stop Goldfinger from completing Operation Grand Slam, a gold-smuggling plot that would cripple the world economy and give the Russian spy organization SMERSH total power over the West. Goldfinger also introduces one of the most memorable villainous sidekicks, Oddjob, whose deadly aim and razor-edged bowler hat make him a force to be reckoned with.. Illus. by Chopping, Richard. First Edition.. Hard Cover. Near Fine/Dust Jacket Included.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
 28.   Check availability:     Biblio     Link/Print  


        Goldfinger (a James Bond novel)

      London: Jonathan Cape, 1959.. First Impression, First Issue jacket, Binding A (First state). Publisher's black cloth-effect paper over boards with 'skull' design stamped to upper, with the extra detail as described by Gilbert, in pictorial dustwrapper designed by Richard Chopping. A very good, lightly used copy in a similar, price-clipped dust jacket, now expertly restored to an attractive state; appears as fine on the shelf. The seventh of author Ian Fleming's fourteen original Bond books which was was adapted as the third film (1964) in the EON Productions' 007 series.

      [Bookseller: Adrian Harrington Rare Books]
 29.   Check availability:     IOBABooks     Link/Print  


        Printings for the Henriëtte Roland Holst-Stichting.

      Hilversum, Henriëtte Roland Holst-Stichting, 1959-1969. Four folded printings in four. Small folio (14.6 x 11.5 cm). Front with Escher engraving, verso with the text "Houtgavure van M. C. Escher", third page with a poem by the Dutch poet Roland Holst (1869-1952), rear with the Stichting's address. On heavy, fine quality laid paper.= A set of fine examples of the art of Maurits Cornelis Escher (1898-1972). It consists of the following: 1. Vlakvullingsmotief met vogels [symmetrical tessellation with birds] (Bool, 361). The Escher engraving (birds) without the artist's logo, which is very unusual; 2. Vissen vignet [fish vignette] (Bool, 398); 3. Vissen [Fish] (Bool, 414). The Escher logo in the top white fish. The images are based on flying fish. Folded oblong. The Escher logo in the right lower black fish; 4. Larix (appel) [Larch cone] (Bool, 440) Folded oblong. The Escher logo with date [19] 61 on the lowermost scale. Bool dates these four as from April 1949, August, 1954, November 1956 and 1961 (no more precise date). The number of copies issued is not known: there is a report of one issued in 6000 copies, but other publications by the Henriëtte Roland Holst-Stichting typically consisted of only circa 300 copies. The last woodcut was listed as used by the Henriëtte Roland Holst Stichting, but Escher used it himself as Christmas 1961 greetings card to some friends. The others were printed for other occasions, in particular exhibitions of Escher's work. A near mint set. Bool, 361, 398, 414, 440.

      [Bookseller: Antiquariaat Schierenberg]
 30.   Check availability:     Biblio     Link/Print  


        故宮名畫三百種.[Gu gong ming hua san bai zhong].Three Hundred Masterpieces of Chinese Painting in the Palace Museum.

      臺中. Taichung. 國立中央/故宮博物院共同理事會. Joint Board of Directors of the National Palace Museum and the National Central Museum. 民国四十八[1959]. Complete in 6 volumes presented in two cases. 300 plates in black and white and colour of which 46 are colour tipped-in plates. Description of each plate in Chinese and English on opposite leaf or on accompanying tissue guard. Each volume is bound in a tradional Chinese string binding with silk covered covers. 44 x 31.5. Lower section of lower cover volume 6 lightly damp stained, lower edge of last 25 pages show a small damp stain on the lower edge which is barely noticeable on the lower margin of the leaf. Cases damp stained and their cloth somewhat torn in places, one toggle loose, but fortunately the volumes themselves are in very good condition. A handsome set showcasing the pictures from "National Palace of Peiping now housed in Taichung, Formosa" many of which had not been reproduced before this limited edition was published. An essay by Chia-Luen Lo entitled "An Approach to the Appreciation of Chinese Painting" follows the introduction by the editor. (When referring to this item please quote stockid 158280).

      [Bookseller: Asia Bookroom]
 31.   Check availability:     Direct From Seller     Link/Print  


        Dark Returners

      Macabre House, CT 1959 - Signed Limited First Edition. #116 of 150 copies. Signed by author on FFE. Bound in red leather with gilt on spine. Published by Macabre House which he owned. This is a compilation of 9 of his stories. Publications from this author were never produced en masse and are scarce. Book Condition: Near Fine: Square spine, sharp edges. FFE is rubbed in the upper corner. Some light overall toning to textblock. Previous owner's namestamp on from pastedown. [Attributes: First Edition; Hard Cover]

      [Bookseller: Heartwood Rare Books]
 32.   Check availability:     AbeBooks     Link/Print  


        Wild Raspberries (presentation copy)

      New York : the artist, 1959. Folio (445 mm tall), original fuchsia papered boards (faded and paper lost at spine, as usual), title sheet, pp [42], consisting of 14 leaves with original watercolour, one double page with original watercolour, four illustrated leaves uncoloured and one sheet with text, interleaved with eight sheets of fuchsia tissue paper, as issued; the complete folio printed in offset lithography by Seymour Berlin, hand bound with one bifolium in duplicate probably in error, resulting in two leaves in duplicate (Calves Head Giant and Dorothy Killgallens Gateau of Marzipan), one set coloured and one set uncoloured; a presentation copy, inscribed 'To Bob / andy Warhol'. One of Andy Warhol's early hand made artist's books, a satirical take on the French cookbooks popular at the time, written in jest with socialite friend Suzie Frankfurt, the recipes scripted by Andy's mother Júlia Warhola and illustrated by Andy Warhol, then hand coloured with Dr. Martin's dyes under the artist's supervision and bound in Manhattan. After seeing an exhibition of the young Warhol's work at Serendipity ice cream parlor on the Upper East Side, the beautiful young Californian Suzie Frankfurt sought the artist out and a friendship quickly developed. Being recently married to an advertising executive, Suzie's mother had sent her a series of French cookbooks so in vogue in the fifties, which were filled with recipes and ingredients quite foreign to young Americans. "My mother, who was a hostess sine qua non, deemed the most important thing for a new bride was to be a good hostess. I wanted to emulate my mother, of course, and it was the year all these French cookbooks came out. I tried to make sense of them. 'Make a béchamel sauce,' they'd say. I didn't even know what that was." Inspired by the recipes that were a source of mirth and mystery to Suzie and Andy, the two decided to write their own cookbook of exotic, elaborate and improbable recipes. 'Omelet Greta Garbo. Make a bed of genoise and fill it with pink ice. Cover with a meringue and set to brown quickly. When about to serve pour a glass of heated kirsch into the meringue and light it. Always to be eaten alone in a candlelite room" A receipt in the Andy Warhol Museum Archives shows that 94 copies were bound by A - Z Bookbinding at the corner of Canal Street in the Lower East Side for a total amount of $94. It is likely that the duplicate sheet found in this example was bound in accidentally at this point. The title "Wild Raspberries" is a spoof on the 1957 Ingmar Bergman film "Wild Strawberries" and the book includes many spelling mistakes made by Warhol's mother, who is described by Frankfurt as 'gifted and untutored', deliberately left in the book, a fact which adds to its naïveté. The hand colouring was applied by four schoolboys who lived in an apartment above Warhol's. In a step towards Warhol's 'Factory' of the 1960s, they created the finished artworks under his direction. According to Frankfurt, 34 copies were coloured in entirety, and the remainder assembled with 5 coloured sheets, enriched using Dr. Martin's aniline dye which would be recognised as one of Warhol's trademark mediums. Andy Warhol's "Wild Raspberries" show ran from December 2 - 24, 1959 at the Bodley Gallery and featured original watercolours from the series as well as copies of the book for sale. The exhibition and book received positive reviews ('clever frivolity in excelsis' - The New York Times; 'Noël Provincial' - Harper's Bazaar), but the book sold poorly, with only a few copies selling at the exhibition and also at the department store Bloomingdales. Many copies were given away as a consequence, and a number have now been split by art dealers and the prints sold individually. The copy we offer here was presented with a signed inscription to Robert Hungerford, and was inscribed by Warhol around the time that the book was made. It is one of the few copies to be signed by Warhol. Hungerford was the creative director of Campbell Eward, who commissioned Andy Warhol on behalf of Champion Paper Company to produce artworks for the advertising campaign "Face to Face" in the 1960s. The concept was for photographers to shoot illustrators and for illustrators to draw photographers, and the project involved Austin Briggs and Gordon Parks along with Warhol. Primary references : Feldman and Schellmann IV. 126 - 143 Reading Andy Warhol. Museum Brandhorst. Ostfildern (Germany) : Hatje Cantz Verlag, 2013

      [Bookseller: Douglas Stewart Fine Books]
 33.   Check availability:     Direct From Seller     Link/Print  


        Cider With Rosie.

      London The Hogarth Press 1959 - First edition, first impression, first issue with account of fire at the piano works (p. 272), 8vo., with drawings by John Ward, publisher's moss green cloth, spine lettered in gold, cream dust-jacket designed by Ward and printed in green, ochre and black, with rare Book Society Choice wrap-around, top extremities of flaps toned and corner of upper one mildly creased, otherwise a near fine a copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
 34.   Check availability:     ZVAB     Link/Print  


        Diccionario literario de obras y personajes de todos los tiempos y de todos los paises (14 Vol. 12+2)

      Montaner y Simón. 1959 - Literatura. Estudios literarios. Diccionarios. (82) Montaner y Simón. Barcelona. 1959 cm. 14 v. lam. col. y n. Encuadernación en tapa dura de editorial estampada. Versión y adaptación de la obra Dizionario letterario delle opere a la que se ha añadido una serie de obras de literatura castellana, hispanoamericana, catalana, gallega, arabigoespañola y hebraicoespañola. Precede al tít.: González Porto-Bompiani. Diccionarios. González Porto, José. Casa editrice Valentino Bompiani. Depósito legal: B 1352-1959 HG62 [Attributes: Hard Cover]

      [Bookseller: Alcaná Libros]
 35.   Check availability:     AbeBooks     Link/Print  


        The Edicts Of Asoka

      Chicago: University Of Chicago Press, 1959. 1st Edition. Hardcover. Very Good +/Very Good +. Inscribed by Author(s). 1st Printing Xvii, 69 Pp. Green Cloth, Stamped In Black. Lightly Ued Book In Lightly Worn Dj Priced $1.75 1/8" Square Chip At Top Of Front Spine Edge. Inscribed On Front Pastedown "To John Raben- Some Ancient Wisdom For His Birthday. Many Happy Returns. Richard Mckeon And Muriel / Jan. 20, 1959". Mckeon Was One Of The Most Respected Professors At The University Of Chicago, Renowned For His Ideas And Methods Courses. John R. Raben Was A Senior Partner In The Law Firm Of Sullivan & Cromwell, With Which He Had Been Associated Since 1939. Mr. Raben Had Been Counsel To Investment Banking And Accounting Firms And Associations. When The Financial Accounting Standards Board Was Established In 1973 As The Rule-Making Apparatus Of The Accounting Profession He Became Its Counsel. He Was Also Counsel To The Industry Task Force That Helped Draft The Securities Investors Protection Corporation Legislation. The Raben Lecture At Yale Is Named In His Honor.

      [Bookseller: Arroyo Seco Books]
 36.   Check availability:     IOBABooks     Link/Print  


        Arabian Sands.

      London: Longmans, Green and Co. Ltd., 1959 - Octavo. Finely bound by the Chelsea Bindery in terracotta morocco, raised bands, titles to spine gilt, dark green endpapers, gilt edges. A fine copy. Frontispiece and 46 plates, 8 maps to the text, some full-page, folding map loosely inserted. First edition. This was Thesiger's first book and "and, in his opinion, his finest" (ODNB) "During the years that I was in Arabia I never thought that I would write a book about my travels Seven years after leaving Arabia I showed some photographs I had taken to Graham Watson and he strongly urged me to write a book about the desert. This I refused to do The following day Graham Watson came to see me again, and this time he brought Mark Longman with him. After much argument the two of them persuaded me to try to write this book. Now that I have finished it I am grateful to them, for the effort to remember every detail has brought back vividly into my mind the Bedu amongst whom I travelled, and the vast empty land across which I rode on camels for ten thousand miles" (Introduction). [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 37.   Check availability:     ZVAB     Link/Print  


        Art international. Volume III, 1/2 1959 - Volume 10 / 1966.

      35 x 25 cm. Ca. 6000 S. OBroschur in OLeinen-Schuber. Von ausgezeichneter , frischer Erhaltung. Sammlung von 8 Jahrgängen der internationalen, aufwändig gestalteten Kunstzeitung für die Moderne und Avantgarde mit Texten in Deutsch, Französisch und Englisch. Enthalten ist in vollständiger Folge Jg. 3 / 1959, Heft 1/2 - 10 [9 Hefte] Jg. 4 / 1960, H 1 - 10 [9 Hefte] Jg. 5 / 1961, H.1 -10 [9 Hefte] Jg. 6 / 1962, H. 1 - 10 [9 Hefte] Jg. 7 / 1963, H. 1 - 10 [10 Hefte] Jg. 8 / 1964, H.1 - 10 [9 Hefte] Jg. 9 / 1965, H. 1 - 10 [9 Hefte] Jg. 10 / 196, H.1 - 10 [10 Hefte] in zusammen 74 Heften, alle mit den Originalumschlägen in der Gestaltung der Künstler, in einheitlichen grauen Original-Leinen-Schubern. "Art international" ist nicht nur hinsichtlich der Berichterstattung in diesen Jahren mit einer Balance zwischen Tachismus, Informel und Pop Art, Nouveaux Realisme sowie Zero und teils frühen Beiträgen unter anderem über Yves Klein, Cy Twombly, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Louis Morris, Jasper Johns, Robert Motherwell, Jean Tinguely, Daniel Spoerri bis hin zu Gerhard Richter von großer Bedeutung für die damalige Kunstszene: Die unzähligen, oft ganzseitigen Anzeigen namhaftester Galerien wie Schwarz, Blu, Janis, Sonnabend, Clert, Castelli, Sperone, Schmela etc. verweisen auf frühe Ausstellungen u.a. von Warhol, Lichtenstein, Oldenburg, Johns, Klein, Twombly etc. Ein umfangreicher Beitrag von Paul Wember berichtet von der ersten institutionellen Ausstellung Yves Kleins in Krefeld, frühe, auch internationale Galerieausstellungen von Warhol und Lichtenstein werden besprochen. In dieser Dichte der wichtigsten Jahre und vor allem nahezu neuwertigen Erhaltung selten.

      [Bookseller: Antiquariat Querido]
 38.   Check availability:     booklooker.de     Link/Print  


        Annual Address by President Martin Luther King, Jr., on the Fourth Anniversary of the Montgomery Improvement Association at the Bethel Baptist Church, Montgomery, Alabama

      Bryant Foundation for the Vanguard Society of America, Los Angeles, California 1959 - First edition. Narrow octavo. 12pp. Stapled printed cream wrappers. Slightest age-toning, still fine. An address concerning segregation in the Alabama educational system and other issues. We were unable to find the text of this address by Dr. King published in any other reference, edition, or format. *OCLC* locates a single copy of this pamphlet (University of Michigan). Not in *Catalogue of the Blockson Collection,* or any other reference we consulted. [Attributes: First Edition; Soft Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Christmas Card with autopen inscription 'Best -- Jack' as Senator for Massachusetts, (John Fitzgerald, 1917-1963, President of the United States 1961-1963)

      1959 - showing him seated, half length, in near profile, smiling to the left, with daughter Caroline (b. 27th November 1957) on his knee, where she is looking down at a open book, Mrs Kennedy, three quarter face, in a shoulder length dress and pearls, stands behind with her arms on the chair back, border of poinsettias and holly in left margin, gilt U.S. eagle above printed greetings, 4 sides (2 blank) 5¾" x 4¾", no date but traces of laying down by blank fourth side including two plain strips of white paper [Attributes: Hard Cover]

      [Bookseller: Sophie Dupre ABA ILAB PADA]
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        ART IN POSTERS The Complete Original Posters of Braque, Chagall, Dufy, Leger, Matisse, Miro, Picasso

      Monte Carlo; New York: Andre Sauret; George Braziller, 1959. 249 pages of text. Hardcover binding in almost new condition. Parts of the textblock have separated from the binding in several places, as is typical for this publication due to the binding style and the thick paper upon which the lithographs are printed. Unclipped dustjacket with minor browning and rubbing to the top of the spine, and minimal shelfwear; protected in new custom-fitted archival mylar. Illustrated by 102 color posters reproduced by Mourlot Freres, most of which are in color. Posters: 13 by Braque, 15 by Chagall, 4 by Dufy, 7 by Leger, 10 by Matisse, 9 by Miro, 44 by Picasso. First edition.. First Edition. Hardcover. Very good+ condition/Very good+ condition (DJ). Quarto (4to).

      [Bookseller: Kurt Gippert Bookseller (ABAA)]
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        Art in Posters: The Complete Original Posters of Braque, Chagall, Dufy, L_ger, Matisse, Mirã, Picasso

      New York: George Brazier, 1959. 1st. Hardcover. Very Good/Good. Georges Braque, Marc Chagall, Raoul Dufy, Fernand L_ger, Henri Matisse, Joan Mirã, Pablo Picasso. New York: George Brazier, 1959 1st Very Good/Good Georges Braque, Marc Chagall, Raoul Dufy, Fernand L_ger, Henri Matisse, Joan Mirã, Pablo Picasso Intro by Fernand Mourlot & end catalogue of each poster Large, beautiful book containing 102 color, lithographically printed, post-war exhibition posters printed (mainly) by Mourlot Freres - Renowned Parisian fine art publisher - for Georges Braque, Marc Chagall, Raoul Dufy, Fernand Léger, Henri Matisse, Joan MirÃ_, and Pablo Picasso "Each image is sumptuously reproduced photolithographically here in miniature by Mourlot, creating essentially one hundred and two original graphics A strikingly handsome example in dust jacket"-{Arcana Books}1959 George Brazier, Publisher New York Printing in France 1st Edition Book & DJ in good condition including acetate wrapping (acetate wrapping on back cover has open tear, 2"H x 6"L) NOT EX-LIBRARY First American Edition Know, notoriously as being fragile & poorly-bound This copy has all pages still attached but beginning to come loose There are signs of visible wear which may include rubbing, bumping, small tears, non-major spine or binding defects but book is still wholly intact Small signs of visible wear SEE PICTURES for any wear or defects Condition based on age of book To ensure you receive the quality of book expected we provide pictures of NOTICEABLE WEAR for ALL books we sell with marked conditions of GOOD + If you have any questions at all don't hesitate to send us an email "ew York: George Brazier, 1959 1st Very Good/Good Georges Braque, Marc Chagall, Raoul Dufy, Fernand L_ger, Henri Matisse, Joan Mirã, Pablo Picasso Intro by Fernand Mourlot & end catalogue of each poster Large, beautiful book containing 102 color, lithographically printed, post-war exhibition posters printed (mainly) by Mourlot Freres - Renowned Parisian fine art publisher - for Georges Braque, Marc Chagall, Raoul Dufy, Fernand Léger, Henri Matisse, Joan MirÃ_, and Pablo Picasso "Each image is sumptuously reproduced photolithographically here in miniature by Mourlot, creating essentially one hundred and two original graphics A strikingly handsome example in dust jacket"-{Arcana Books}1959 George Brazier, Publisher New York Printing in France 1st Edition Book & DJ in good condition including acetate wrapping (acetate wrapping on back cover has open tear, 2"H x 6"L) NOT EX-LIBRARY First American Edition Know, notoriously as being fragile & poorly-bound This copy has all pages still attached but"w York: George Brazier, 1959 1st Very Good/Good Georges Braque, Marc Chagall, Raoul Dufy, Fernand L_ger, Henri Matisse, Joan Mirã, Pablo Picasso Intro by Fernand Mourlot & end catalogue of each poster Large, beautiful book containing 102 color, lithographically printed, post-war exhibition posters printed (mainly) by Mourlot Freres - Renowned Parisian fine art publisher - for Georges Braque, Marc Chagall, Raoul Dufy, Fernand Léger, Henri Matisse, Joan MirÃ_, and Pablo Picasso "Each image is sumptuously reproduced pho" York: George Brazier, 1959 1st Very Goo

      [Bookseller: Hideaway Books]
 42.   Check availability:     IOBABooks     Link/Print  

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