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Displayed below are some selected recent viaLibri matches for books published in 1961

        Mimeograph Typescript of Points of Destinction [sic] Between Sedative and Halucigen [sic] Drugs

      1961. Unrecorded mimeograph typescript of a speech Burroughs gave at a meeting of the American Psychological Association, September, 1961, in New York City. Five pages, including personal and anecdotal experiences, arguing against the broad category of "narcotics" for both addictive sedatives and non-addicting consciousness expanding drugs. Together with a 1964 issue of Evergreen Review in which the speech is printed, with textual variations, including a change in the title, with "consciousness expanding" replacing "hallucigen." The talk/essay was included in two anthologies of writings about drugs, but the Maynard and Miles bibliography lists no separate printing of it, and this mimeograph would appear to be contemporary with the talk in 1961, making it several years earlier than any of the other appearances in print. Also, the term "halucigen" dates it as being prior to the point at which the term "hallucinogen" was settled on as the consensus descriptor. The magazine has a detached text block; the speech is stapled in an upper corner and fine. An unrecorded Burroughs typescript on one of the subjects that was most deeply embedded in his works. No Binding. Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA]
 1.   Check availability:     IOBABooks     Link/Print  

        Partitur: Symphonie in 5 Stücken Entropia.

      s.l. datiert: 1961. Fotomechanischer Nachdruck der Originalhandschrift [musc austria listet das Werk mit falscher Entstehungszeit (1963) als opus 20]87 S. in losen Blättern, auf der letzten Seite im Druck signiert, Salzburg 1961. lose Blätter in einfachem Kartonumschlag, 66 x 28 cm, Kartonumschlag mit Läsuren, Blätter teilweise lichtrandig und mit kleinen Einrissen **** Horvath, Josef Maria * 20.12.1931 Pécs/H. Komponist. Orgelstudium am Jesuitengymnasium in Pécs, später studierte H. an der Budapester MHsch. Klavier (Diplom 1956), Dirigieren und Komposition sowie nach der Emigration nach Österreich 1956–59 an der Salzburger MAkad. Mozarteum bei C. Bresgen und Kurt Leimer (Klavier, Komposition, Elektronische Musik); bis 1964 als Konzertpianist tätig, seither Fokus auf Komposition. Ab 1979 Prof. für Musiktheorie und Neue Musik am Mozarteum; Mitglied der Cooperative für Computermusik; lebt in Salzburg. H. verbindet in seinen Werken „kompositorische Strenge [...] mit großer Klangschönheit“. Auftragswerke u. a. für den Österreichischen Rundfunk, die Salzburger Festspiele oder das Ensemble 20. Jahrhundert. Versandkostenfreie Lieferung

      [Bookseller: REDIVIVUS Buchhandlung & Antiquariat]
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        Mastering the Art of French Cooking: Volumes 1 & 2.

      New York: Alfred A. Knopf, 1961-70. First editions of both volumes of this classic cook book. Quarto, 2 volumes, original illustrated boards. Volume 1 is signed by "Bon Appetit Julia Child" on a bookplate. Volume two is inscribed by and dated in the year of publication by Julia Child on the half title page. Both copies are in near fine condition in near fine dust jackets. A very nice set, rare signed in both volumes. Julia Child?s Mastering the Art of French Cooking is arguably the most influential work on French food ever published in the United States. A "self-confessed ham, she became a darling of audiences almost from the moment she made her debut in 1963 at the age of 50" (New York Times).

      [Bookseller: Raptis Rare Books]
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        The Constitution of Liberty

      The University of Chicago Press 1961 - Signed by the author on the title page. This is a Good + condition hard cover with no dust jacket. The cover has rubbed edges and has some nciks to the head and tail-side edges of the back-strip. The front cover has a superficial scratch. The front free endpaper has a previous owner's address label and a hand-written name. The pages are in VG condition. Size: 8vo - over 7¾" - 9¾" tall [Attributes: Signed Copy; Hard Cover]

      [Bookseller: The Armadillo's Pillow]
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        Rocco et ses Freres. L'histoire du Film, les Dialogues et le Scenario, les 140 plus belles photos.

      Paris: Buchet/Chastel, 1961. SIGNED FIRST FRENCH EDITION. Octavo, pp.335. French language. Paperback in pictorial card cover. Signed by Visconti to the title page at Colombia University on December 8th, 1969. Translated from the Italian by Causse, this book contains the history of the film and the script, and has many black and white photographs from the film. Text-block slightly detaching from the covers, some chipping and rubbing along all the exterior edges, nice and bright internally.

      [Bookseller: Adrian Harrington]
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        In Parenthesis. Seinnyessit e gledyf ym penn mameu.

      8vo., original blue buckram , spine lettered on a grey backround within a gilt panel. With frontispiece and full page plate at the rear both by David Jones, and a map in the text. A fine copy. Second edition of this tour de force by the artist/poet, an innovative prose poem which stands as one of the handful of literary works of the First World War to which the term "great" may justifiably applied. Jones served in France and Flanders with the Royal Welch Fusiliers. This edition includes an Introduction by T. S. Eliot (Jones's advocate at Faber), and this is the deluxe issue, limited to seventy numbered copies (fifty for sale), specially bound and signed by Jones and Eliot. This copy No. 1. The author's first book and most celebrated work, which takes the form of an epic prose poem set in the first world war, based on the author's own experiences. It was ten years in the making and was eventually helped to publication by T.S. Eliot, who hailed the book as "a work of genius". It won the 1938 Hawthornden prize. Stephen Spender in a review for the NY Times said: "This work of a poet-painter has its every word chiselled out of experience, and it is probably the World War I monument most likely to survive."

      [Bookseller: Henry Sotheran Ltd.]
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        Richard Nixon writes a politically reflective TLS to Jack Dreyfus, founder of the Dreyfus funds

      Los Angeles, California: , June 6, 1961. Los Angeles, California, June 6, 1961. 7.25" x 10.25". "Single page TLS, 7.25"" x 10.25"", dated ""June 6, 1961"" on stationary stock, with Richard Nixon's personal letterhead. Signed by Richard Nixon as ""Dick"". Accompanied by the postmarked mailing envelope, 7.5"" x 4"". Expected folds, else near fine condition.This letter, to Jack Dreyfus, was composed after Nixon had just completed his 8 year stint as Vice President, and had recently lost the Presidential election to Kennedy by only 112,827 votes (0.2 percent) in the popular vote. By this time, Nixon and his family had returned to California, where he practiced law and wrote a bestselling book, Six Crises. Interestingly enough, back then, like now, there were charges of voter fraud in such a close election, but back then it was considered an issue in Texas and Illinois, both states won by Kennedy; Nixon refused to consider contesting the election, feeling a lengthy controversy would diminish the United States in the eyes of the world, and the uncertainty would hurt U.S. interests. Perhaps a self sacrificing position to take, but one which also avoided the expense and stressors on the US citizens who need a smooth transition of power. Nixon's letter to Dreyfus briefly referenced his concerns on communist strategy and general political tactics and recommended a book for Drefus to read. In part, he noted: ""Among the many hundreds and perhaps thousands of books and treatises that have been written on Communist strategy and tactics I believe that one of the best and most objective is Robert Strausz-Hupe's ""Protracted Conflict"" (to which he apparently noted he would enclose a copy for him under separate cover). The book Nixon referred to was written shortly after Second World War, Robert Strausz-Hupe, then a professor at the University of Pennsylvania, envisioned not just the postwar struggle between the Soviet Union and the United States (which obviously occurred throughout the following several decades), but also envisioned the geopolitical rise of the Asian powers of China and India (which has been occurring in the more recent decade). In 1945, he noted, the Western powers held significant advantages in all of these elements, except demographics. Western industrial development, technology, and organization had thus far enabled Western powers to more than offset the manpower advantages of Asia. But, warned Strausz-Hupe, â€

      [Bookseller: University Archives ]
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        The Winter of Our Discontent [Pristine]

      New York Viking Press 1961 First Printing. 8vo: [8],311,[1]pp. Publisher's turquoise cloth, spine titled in silver in black title block, upper cover stamped in blind, top edge stained turquoise, blue pictorial dust jacket priced $4.50. As New, very fine and unread, in a Fine jacket, vibrant and bright. All in all, virtually pristine. Goldstone & Payne A38b. As New ¶Steinbeck's final novel, set in New England, the title a reference to the first two lines of Shakespeare's Richard III: "Now is the winter of our discontent / Made glorious summer by this sun [or son] of York." For the most part, Winter received a harsh critical reception (although the Atlantic Monthly called it a classic). Largely negative critics offered little appreciation of the risks Steinbeck had taken or the enormous technical innovations he had attempted in the text. But the following year the Swedish Academy awarded him the Nobel Prize for Literature, remarking specifically on five books from 1935 to 1939, then continued: "it is not possible to dwell at any length on individual works which Steinbeck later produced. If at times the critics have seemed to note certain signs of flagging powers, of repetitions that might point to a decrease in vitality, Steinbeck belied their fears most emphatically with The Winter of Our Discontent. Here he attained the same standard which he set in The Grapes of Wrath. Again he holds his position as an independent expounder of the truth with an unbiased instinct for what is genuinely American, be it good or bad." Now, fifty years later, "recent Steinbeck criticism seems to assert that The Winter of Our Discontent's structural complexity went unappreciated by early readers who failed to see it as a successful portrait and call to action against an ever-increasing decadence which had invaded the very soul of the times." (Literary Encyclopedia) N. B. 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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        Somme athéologique II : Le coupable, édition revue et corrigée suivie de L'Alleluiah

      Edition first in part, one of 30 numbered copies on pur fil, the only large paper copies.Slight traces of sunning, not serious, to head and to foot of spine.A good and rare copy. Gallimard Paris 1961 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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      New York: Simon & Schuster, 1961. First Edition. Hardcover. Very Good. First edition, first printing stated. Very Good, with long previous owner gift inscription to front free end paper, hinge at rear of text block slightly exposed, bottom corners bumped and bottom page corners lightly creased, in a Good, lightly tattered dust jacket with publisher's price of $5.95 intact, rubbing, edge wear with chipping at the spine ends, several short edge tears and a cup ring indent on the front panel.

      [Bookseller: Burnside Rare Books]
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        The Trial of Lady Chatterley - Edited from official transcripts by C.H. Rolph. [PPLD.206/1] A condensation of C.H.Rolph's transcripts of the Trial, read by Maurice Denham and others from the Penguin Publication. - Produced by Jennifer Wayne for Nonesuch Records. Under the Direction of John Chandos. Introduction spoken by Lord Birkett, P.C.

      [England], Nonesuch Records, 1961. Vintage Spoken Word Records (2 LP's). Original, Vintage Vinyl in original sleeves. / Both sleeves (original Nonesuch Record Sleeves) and both Records in excellent condition with only minor signs of wear (some signs of fingerprints on LP No.2 / Sleeve in (NM-) and Record in near mint (!) condition NM. Extremely Rare !

      [Bookseller: The Time Traveller's Bookshop ]
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      Robert Hale, 1961. First Edition. Hardcover. Good/Fair. the original jacket is shelf worn and the back is marked. there are small creases and the top of the spine is frayed. there has been tape repair and reinforcement beneath the jacket. the rear flap appears to have been slightly trimmed. with all these faults it still presents well in cellophane. the book has old tape residue marks and a little foxing.there is a small previous ownership stamp mark and date. the binding is strong.

      [Bookseller: Chapter 1 Books]
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        Comment c'est

      Les éditions de minuit. First edition on ordinary paper.Autograph inscription from Samuel Beckett to a friend.Spine slightly sunned, a marginal tear to head of the last text page. Les éditions de minuit Paris 1961 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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      First edition for some parts, one of 75 numbered copies on pur fil paper, the tirage de tête.A fine copy. José Corti Paris 1961 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Cancellation cover Commemorating the World Chess Championship rematch of 1961

      One sheet cover with cancelled stamp and decorative chess board in black on light green paper. Commemorative cancel to stamp. Signed by both players, Mikhail Tal and Mikhail Botvinnik, in blue ink, dated by Botvinnik 12 May 1961. Event covers are decorated, stamped and canceled commemorative envelopes. They are created to celebrate an event or note an anniversary. The design (called a "cachet") is generally placed on the left side of the envelope (although there are also "all over" cachets). It explains what is being commemorated on what date, and some times includes an illustration page. Ideally, the stamps used relate to the celebration. Cancels are either obtained in the city of the event. If a special cancellation (one with a design) has been created for the event, you can generally only receive that cancel from the local post office.Mikhail Tal (Latvian: Mihails Tāls; Russian: Ð

      [Bookseller: The Book Collector ]
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        Revolutionary Road

      First Printing Boston and Toronto Little, Brown 1961 First Edition (so stated) of the author's first book, recently brought to the screen by Sam Mendes, with Kate Winslet and Leonardo Decaprio. 8vo: [8],337,[1]pp. Publisher's red quarter-cloth lettered in gilt, black paper-covered boards; tan pictorial dust jacket titled in red, with quote in black from Alfred Kazin, priced $4.75. A Fine, tight, square copy, likely unread, in a Fine jacket, virtually pristine, crisp and clean with no foxing, dust-soiling or stains and no fading to the fugitive red on the spine panel Fine Yates's first novel, a blistering, incisive portrait of marriage and suburban life in 1950's America, attracted an impressive list of admirers (among them Tennessee Williams, Joan Didion, Richard Ford and Kurt Vonnegut Jr., who called the book The Great Gatsby of its generation) and was nominated for the 1962 National Book Award, but by the time Yates died more than 30 years later, fewer than 12,000 copies had sold. In recent years, two events catapulted Revolutionary Road onto the New York Times bestseller list: Sam Mendes's film and "A Tragic Honesty," Blake Bailey's biography of Yates. 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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        Works of G. Maciunas at AG (GM at AG)

      New York: AG Gallery, 1961. First edition. Loose Sheets. Fine. Single narrow sheet of paper. An exhibition announcement flyer for a solo show of Maciunas' work at his influential, but short-lived gallery on Madison Avenue. Flyer measures 3 1/2 x 10 1.2" tall. Offset printed on card stock. Fine condition. Flyer is undated, but clearly from 1961 as the gallery only existed for a few short months in that year when it proved financially unsuccessful after only a short time. The artist's plan was to sell imported foodstuffs and musical instruments to make ends meet. A seriously rare piece of early fluxus ephemera.

      [Bookseller: Derringer Books, Member A.B.A.A.]
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        For Emmett" - Typografik Schreibmaschine, rückseitig mit Schreibmaschine bezeichnet, datiert und mit dem Vermerk "(Et Mappe).

      () 1961 - 12,6 x 17,5 cm. Emmet Williams gewidmete Originaltypoarbeit zur Publikation in einer "et" Mappe vorgesehen, jedoch nicht realisiert.

      [Bookseller: Daniel Thierstein]
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        Fur Trader's Story

      The Ryerson Press, 1961. Signed, dated and generically inscribed by author/subject upon half-title page. 245 pages. Map endpapers. Black and white photographic plates, including frontispiece photo of author/subject in travel attire. Anderson "recounts his nearly half a century in the Canadian north. By snowshoe and dog team, by canoe, sailboat and steamer, he travelled throughout the woodlands and the Arctic regions of Canada - with numerous side trips to the west coast of Greenland. Includes many a fabulous anecdote - tales of courage and privation, humour in the bivouac and excitement on the trail. Discusses the fur trade and its history, interspersing his narrative with reflections which provide sharp insight to this theme." - from dust jacket. Gift greetings atop half-title page. Light wear to book. Binding intact. Above-average wear to dust jacket which is now preserved in glossy new archival-grade Brodart.

      [Bookseller: Online Bookshop Jim and Mina Stachow]
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        Painter's Notebook

      Hollander Press, San Diego 1961 - With three wood engravings signed by the artist. The plates are mixed media prints: wood engraving and serigraph. Williams was a self-taught modernist artist who taught at Chouinard Art Institute, Pomona College, and University of California, Santa Barbara. Much of his work was lost in a fire that destroyed his home. WorldCat locates 3 copies of the book. Signed by the author on each of the three engravings. 100 copies in this edition plus 25 special copies marked A to Y. This is Copy Number C. First edition (first printing). Very good in wrappers (paperback). Slight tanning to covers. Mild edge wear. All engravings with tissue guards. One engraving is loose. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Eureka Books, ABAA]
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        Le testament d'Orphée

      Editions du Rocher 1961 - - Editions du Rocher, Monaco 1961, 13,5x18,5cm, broché. - Edition originale, un des 60 exemplaires numérotés sur pur fil Marais, seuls grands papiers. Iconographie. Bel exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition, one of 60 numbered copies on pur fil Marais, the only large paper copies. Illustrations. A very good copy. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        [The Danzig Trilogy, comprising] The Tin Drum; Cat and Mouse; Dog Years

      First Printings New York Pantheon [Harcourt, Brace & World, through 1965] 1961 First Printings of the first American editions, with matching dust jackets illustrated with drawings by the author. All translated from the German by Ralph Manheim. 8vo's; 592; 190; 570pp. The Thin Drum (Pantheon, 1961): Publisher's finely woven red cloth, the upper boarded stamped with a device of the "tin" drummer, the spine lettered in black and gilt, with a matching black top stain and threaded end papers, the dust jacket priced at $6.95. Both book and jacket are virtually As New, with no discernible faults. Cat and Mouse (Harcourt, Brace & World, 1963): Publisher's finely woven black cloth, the upper boarded stamped with a device of a curled-up cat, the spine lettered in red and gilt, the dust jacket priced at $3.95. Both book and jacket are in Fine condition, barring just a shade of toning to the jacket's spine. Dog Years (Harcourt, Brace & World, 1965): Publisher's original black cloth with brown end papers, the spine lettered in gilt, the dust jacket priced at $6.95. Fine, square and tight, in a Fine jacket with no wear. Fine The Tin Drum, the first installment in the author's Danzig Trilogy, offers a searing indictment of the role ordinary Germans played in Hitler's National Socialist regime and of their reluctance to address issues of guilt in the postwar era. At the time of the book's publication, the dominant historical view held that National Socialist crimes had been committed by a few fanatical individuals?an idea endorsed by the Nuremberg Trials of key Nazis in 1945-1946. It was not until the Auschwitz trials of 1963-65 that the part played in the Holocaust by "ordinary" men and women was fully documented. Grass's next two books, Cat and Mouse and Dog Years, continue his exploration of this, until then, widely unacknowledged perspective. When Grass was awarded the Nobel Prize for Literature in 1999, in large part for the Danzig Trilogy, the prize committee noted the books' remarkable portrayal of "the forgotten face of history." 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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        Original Unbound Sheets 1923-1935.

      (Los Angeles: Dawson's Book Shop, 1961). Small folio portfolio. One of seventeen portfolios distributed by Dawson's Book Shop. Contains Dawson's contents sheet, plus 20 leaves of proof, trial, and discarded sheets, which were purchased from the daughter of C. H. St. John Hornby. These are: an eight-page signature from The Faerie Queen (1923); eight pages from The Golden Asse of Apuleius (1924); two sheets of eight pages each from The Wisdom of Jesus, Son of Sirach (1932); eight pages from Daphnis and Chloe, with a single woodcut by Gwen Raverat; twelve pages from Spenser's Minor Poems (1925) partly printed in red and blue; and four pages from the Ashendene bibliography (1935) showing specimen pages from Un Mazzetto Scelto di Certi Fioretti ... di San Francesco (with a woodcut in red), the Purgatorio of Dante, the Horace, and A Treatyse of Fysshinge with an Angle. In addition, this copy, which is from the library of Muir Dawson, contains two extra leaves not called for in the contents sheet: a single leaf of the opening text page of Le Morte D'Arthur, printed on glossy paper on the recto only. There is a penciled note on the upper right margin indicating that this is a proof. Also included is a two-page ALs from Hornby to Graily Hewitt on a single sheet of Shelley House stationery. The letter, which is undated, discusses pages that were ready for lettering, specifically, pages 28 and 29 of the Horace, and page 7 of the Virgil. The content of the letter and selection of the pages indicate that Hornby was working on the Bibliography at this time. Some wear to spine foot of portfolio, slight rubbing to corners, minor dampstain to corners of several leaves. A near fine example of a scarce collection of leaves. Housed in a red cloth folio-size portfolio with leather label.

      [Bookseller: Bromer Booksellers]
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        From the Dreadnought to Scapa Flow. The Royal Navy in the Fisher Era, 1904-1919. COMPLETE SET IN UNCLIPPED DUSTWRAPPERS

      Oxford University Press,, 1961-70. 5 vols., 8vo., First Edition, with 5 portrait frontispieces, 66 plates on 40, 7 illustrations and charts in the text, 22 folding or double-page charts (the majority coloured in outline) bound in, and 16 folding charts coloured in outline in pocket at end of third volume; navy cloth, gilt backs, a very good, bright, clean set in unclipped dustwrapper (one wrapper price-clipped), the wrappers to fourth and fifth volumes lightly rubbed at extremities. With the publisher's compliment slip, and separately printed corrigenda sheet, loosely inserted in first volume. The set comprises Volume I: The Road to War, 1904-1914 (1961); Volume II: The War Years: to the Eve of Jutland (1965); Volume III: Jutland and After (May 1916-December 1916) (1966); Volume IV: 1917: Year of Crisis (1969); Volume V: Victory and Aftermath (January 1918-June 1919) (1970). THE DEFINITIVE HISTORY OF THE ROYAL NAVY IN THE YEARS LEADING UP TO AND DURING THE GREAT WAR. Arguably the finest contribution to the literature of naval history since Mahan. SCARCE AS A COMPLETE SET, ESPECIALLY IN THE DUSTWRAPPERS. Enser, p.310

      [Bookseller: Island Books]
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        Meditation sur le Theatre et la Vie...

      Liège: Editions Dynamo, (1961). Copy 3 of 11 printed on Hollande paper, from a total edition of 51 copies, published on the first anniversary of Camus' death. Fine....

      [Bookseller: Thomas A. Goldwasser Rare Books]
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        Tombeau de mon père

      Editions Galanis. First edition, one of 112 numbered copies, all signed by the author and the artist, this one of 21 copies on Japon nacre paper, the only copies with an artist's proof and a suite of etchings on Japon nacre signed by the artist, from the tirage de tête.The work is illustrated with seven original etchings by Maurice Estève, including one vignette, four hors-texte, one border and one tail-piece.A very rare tirage de tête of this moving poem by André Frénaud superbly illustrated with images by Estève Editions Galanis Paris 1961 In-4 (33,7x27cm) en feuilles sous chemise et étui

      [Bookseller: Librairie Le Feu Follet]
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        Paintings from Prison.

      1961. Two beautiful Chinese pen and ink and watercolour paintings on silk by Clarence Lee. Approximately 16.5 x 23.5cm and 16.8 x 22.8cm. These two paintings bear the chop of Clarence Lee - ??? (Lee Tse Ko or in Cantonese Lee Chi Kuk) from Hefei, Anhui Province. He was the son of K. C. Lee of the HSBC Bank in Shanghai. These two paintings were loosely inserted in an envelope on which it was noted that Clarence Lee had painted them on Christmas Day while in prison. As materials for painting were very difficult to obtain Clarence Lee painted on silk which he had torn off the back of old Chinese books. Clarence Lee painted these two paintings was in prison. He had run foul of the Communist Party as he and his brother who was also held refused to fit in with the new austere life required of people in China following 1949. The brothers continued to party and spend money and lead a life that was the anti-thesis of the model Chinese citizen in the 1950s. These paintings were from the collection of William Stewart, an official for many years in the Hong Kong and Shanghai Bank, where the Lee Brothers father also worked. William Stewart wrote: "I have kept the original [paintings] for many years - given to me by his wife - who is no longer his wife now I think. When I left Shanghai in 1966 Clarence I understand was still in some sort of custody or under surveillance - and maybe still is (1978). His brother was released and I met him again in Shanghai, but after that he was arrested again in Hangchow for some minor misdemeanour, maybe is still in custody. Both very pleasant chaps and in any non c. [Communist] country might be going about their normal jobs and living as they were accustomed to in pre liberation days - ie before 1949. Such is life for some." Clarence Lee's chop appears on other paintings which suggests that he was a collector of art as well as an artist. One of these paintings is dated 1961 (???) possibly, the characters being difficult to make out, on Christmas Day (???) of that year. (When referring to this item please quote stockid 150513).

      [Bookseller: Asia Bookroom]
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      Verona: Officina Bodoni, 1961 (London: Faber & Faber). 8 x 11 1/4. (9), 11- 52, (1 ) pages. Vellum-backed marbled boards with matching slipcase. The slipcase was too tight for both for this publication and the Four Quartets which was issued in a similar format; it has usually split with use and frequently resulted in wear to the cover edges. The case on this copy has been rehabilitated by a local binder who has covered/reinforced the joints with green cloth. There is very slight wear to the edges, and finger soil on the spine. Nearly fine copy. One of 300 numbered copies signed by Eliot. Designed and printed by Hans Mardersteig in his Dante type on Magnani paper.

      [Bookseller: The Veatchs Arts of the Book]
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        Comment c'est

      Les éditions de minuit. First edition on ordinary paper.Precious copy inscribed by Beckett to his friend the painter Geer (Van Velde) and his wife Lise.Slightly discolored spine."What to say of the sliding planes, the shimmering contours, the cut-out figures in the fog, the balance that any little thing can break, breaking and re-forming themselves under our very eyes? How to talk about the colors that breathe and pant? Of the swarming stasis? Of this world without weight, without force, without shadow? Here everything moves, swims, fells, comes back, falls apart, re-forms. Everything stops, non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature" (The van Veldes' Art, or the World and the Trousers, in Cahiers d'Art n°11-12, Paris 1945).Beckett here is not talking - despite how it may appear - about his literary oeuvre, but about the paintings of Geer Van Velde, going on to add a few lines later "[Bram] Van Velde paints distance. G[eer] Van Velde paints succession." This elegy, published on the occasion of the double exhibition of the Van Veldes (Geer at Maeght's and Bram at the Galerie Mai) is the first important text on these painters, more or less unknown to the public at the time: "We've only just started spouting nonsense about the Van Velde brothers, and I'm the first. It's an honor." This is also the first critical text written directly in French by a young Irish writer who had not, as yet, published anything in France.Thus, the first and most important of Beckett's writings on art, composed at the dawn of his literary career, establishes - right from the start - a fundamental relationship between his developing work and his friends' art: "Thus this text has often been read in a hollow or in the mirror, as one of the rare designations of Beckett's poetry (to come) by the man himself, a sort of anamorphic program of writing," (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar).A real statement of dramaturgical intent, this fundamental text whose introspective value Beckett lays out from the introduction on ("one does nothing but tell stories with words") ushers in the writer's most fruitful creative period. In essence, like Apollinaire and Cendrars, Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through "the deepest questioning of narrative, figurative or poetical presuppositions" (Pascale Casanova in Beckett l'abstracteur).The major influence of modern painting on the narrative structure - or destructuring - of Beckett's drama and novels would be pointed out and examined by a number of thinkers, among them Gilles Deleuze, Julia Kristeva and Maurice Blanchot. It was, in fact, with the art of the Van Veldes (first Geer then Bram) that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot, since: "the set must come out of the text without adding anything to it. As for the visual comfort of the audience, you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set, or see anything other than him?" (Letter to Georges Duthuit, 1952).When he met Geer in 1937, "Beckett was going through a major existential crisis and had just been reworking his first novel, Murphy, which had been rejected by a great many publishers. He was lost in alcohol, leaving Ireland and moving once and for all to Paris" (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). He returned from a long artistic journey in Germany, where he was marked by classical works as well as contemporary art - it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating the Moon, his source for Waiting for Godot.Art was thus at the heart of his creative thinking and the friendship that would tie him to Geer and later his brother Bram and their sister Jacoba (with whom his relationship may have been more than merely friendly), and which would profoundly influence his life and writing. His first writing on art is a short piece on Geer Van Velde, whose works he pressed on his new lover Peggy Guggenheim when she set up her new London gallery. Despite the relative failure of the exhibition (which followed Kandinsky's), he got his friend a one-year scholarship from Peggy. James Knowlson even thinks that "if Beckett maintained close links with Peggy for a long time, it was first and foremost because she could be convinced to give his artist friends a serious helping hand, starting with Geer Van Velde" (in Beckett, p. 474). Enigmatic, the little piece that Beckett wrote at the time at Peggy's request already contained a dramaturgical kernel of thought: " Believes painting should mind its own business, i.e. colors. i.e no more say Picasso than Fabritius, Vermeer. Or inversely."   Slower to develop, his friendship with Bram and interest in the latter's painting slowly changed Beckett's outlook on Geer's art and when, ten years after his first meeting the brothers, he wrote The World and the Trousers,  Beckett brought up to date a duality symbolized by the title, taken from an anecdote given as a legend to the article. The world is the "imperfect" work of God, made in six days, to which the tailor compares the perfection of his trousers, made over six months.The link between this anecdote and the Van Velde brothers is perhaps to be found in the second essay Beckett devoted to them, in 1948, Peintres de l'empêchement [Painters of the Problem] (Derrière le miroir n° 11/12) : "One of them said: I cannot see the object in order to represent it because I am who I am. There are always two sorts of problems - the object-problem and the 'eye-problem... Geer Van Velde is an artist of the former sort... Bram Van Velde of the latter."Resistance of the object or impotence of the artist, this tale, the "true primary narrative core in kôan zen form," (P. Vilar) would later find itself scattered throughout Beckett's work and would more specifically take centre stage in Endgame, whose similarity, by the by, with the art of Geer Van Velde was noted by Roger Blin. "At the time, he was friends with the Dutch brothers Geer and Bram Van Velde, both painters. Geer was a painter in the style of Mondrian. I have the feeling that Beckett saw Endgame as a painting by Mondrian with very tidy partitions, geometric separations and musical geometry," (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    Beckett's growing affinity for Bram Van Velde's work and the energy he put into promoting his work, especially to the galerie Maeght or his friend the art historian Georges Duthuit, was no doubt to the detriment of his relationship with Geer. Nonetheless, despite some misunderstandings, their friendship remained unbroken; as did the silent but anxious dialogue that the writer maintained with the art of the younger Van Velde brother, two of whose large canvases he owned. "The big painting by Geer finally gave me a sign. Shame that it should have turned out so badly. But perhaps that's not true after all" (letter to Georges Duthuit, March 1950). "Geer shows great courage. Ideas that are a little cutting, but maybe only in appearance. I have always had a great respect for them. But not enough, I think" (letter to Mania Péron, August 1951)The death of Geer Van Velde in 1977 affected Beckett deeply and coincided with a period of intense nostalgia during which the writer decided to give himself over to "a great clear-out" of his house so as to live between "walls as grey as their owner." Confiding his state of mind to his friend, the stage designer Jocelyn Herbert, Beckett bore witness to the indefatigable affection he had nurtured for the painter over forty years: "more canvases on display, including the big Geer Van Velde behind the piano."A precious witness to the friendship of these fellow travelers who had, ever since checking the veracity of the game of chess played by Murphy and Mr. Endon for Beckett's first novel, tackled together the great challenges of modernity: "It's that, deep down, they don't care about painting. What they're interested in is the human condition. We'll come back to that" (Beckett on the Van Velder brothers in The World and the Trousers).Spine lightly sunned as usual for Molloy and L'Innomable, a tiny tear (not serious) to foot of spine of the latter.  Les éditions de minuit Paris 1961 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Seuil. First collected edition, one of 15 numbered copies on pur fil paper, the only large paper copies. A very good copy. Rare.% Seuil Paris 1961 13,5x20,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Arthur Barker Ltd, UK 1961 - Ghita Mary Lindell (11 September 1895 in Sutton, London - 1986 in Paris). Lindell was born to a wealthy family in Surrey, England. Her mother, Gertrude Colls, was of the Colls family, the daughter of a successful architect. During the First World War, she served as a member of the Voluntary Aid Detachment (VAD) and subsequently with the Secours aux Blessés, a division of the French Red Cross. She was decorated for her bravery and service by the French, receiving a Croix de Guerre in 1918. She was also decorated by the Tsarist Russian government. She married the Count de Milleville, a member of the French aristocracy, and settled permanently in France. During World War II, she participated in the evacuation of three Allied pilots on the "Pat" line (named after "Pat O'Leary", an alias of Albert Guérisse). Despite a narrow escape, which led to her brief refuge in her native Britain, she joined MI9 and returned to occupied France in 1942, where she learned that as the Comtesse de Milleville, she had been sentenced to death. She would have organised a new escape line, the "Marie-Claire" line, under her new name. She continued to work in France until severely wounded, captured and deported to Ravensbrück concentration camp at the end of 1943. She survived in the camp hospital and was liberated by the Swedish Red Cross in 1945. - CONDITION & DESCRIPTION OF THE BOOK: The original first impression dustjacket houses this amazing book. Retains price 18s net to the front prelim. Small chips to the top and bottom of the spine and the corner folds. Creasing to the extremities and scuffing also. Light browning, mainly noticeable to the lighter areas of the dustjacket. Fabulous imagery of Mary Lindell's forged Identity Card on the front panel. Light blue cloth boards. Lightly bumped corners and browned on the bottom edge of the spine. Page block within is tight. Wonderful picture of Mary Lindell opposite full title page. Pages are uniformly browned with age. The biography has 275 pages with a further 3 page postscript. - E N D - Our orders are shipped within 1 or 2 business days.- Thanks for your interest and I hope you like the book enough to buy it. [Attributes: First Edition; Hard Cover]

      [Bookseller: Booky-Wooky]
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      London, Hodder & Stoughton 1961 - 8°. 286 S. 1 Bl. OPp. Erstausgabe. - Alfred Hitchcocks gleichnamiger Film von 1964 basiert auf Winston Grahams Roman. - Mit handschriftlicher Widmung und Signatur "For Dr. William R. Staehelin from Winston Graham with my very proud wishes. 8th September, 1966" auf dem Vorsatz. - (Rücken verblasst. Schnitt etwas stockfleckig). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Biblion Antiquariat]
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        The Phantom Tollbooth.

      New York: Epstein and Carroll. 1961 - Octavo. Blue cloth with titles to spine white, illustration to front board in white, map endpapers, in dust jacket. A bright and excellent copy in price clipped dust jacket with shallow chipping to spine ends and lower edges, chip to mid front spine edge that effects part of the "L" to title on spine, light chipping and splitting along flap folds with tape at verso. A very presentable copy. First edition, first printing with publisher Epstein and Carroll printed on dust jacket and stated on title page (later editions have Random House as publisher). Signed by illustrator Jules Feiffer on title page. True first printings of this title are very uncommon and signed copies even more so. A charming story of a child's wonderful imagination, delightfully written with witty puns that would have surly even made Lewis Carroll crack a smile. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        The Danger of Lecturing at Concerts." - Typoskript mit handschriftlichen Ergänzungen des Autors auf dem ersten Blatt. dazu: "Die Gefahr, in Konzerten Vorträge zu halten." Typoskriptdurchschlag der deutschen Übersetzung

      - 1961 - 22 x 28 cm. 10 Blatt und 8 Blatt für die Übersetzung. Umfangreiches Typoskript mit den Spielplänen zu "Danger Music" 1 - 43, "Lecture" 1 - 7, "Concert No. 1 - 22". handschriftlich, mit brauen Filzstift ergänzter Tite, den Copyrigthangaben der Werke und der Anmerkung "Not necessary to print this in the front of the editions." - Bernhard Höke liess den Text ins Deutsche übersetzen. Die nicht signierte Übertragung (8 Blatt) wurde, nach Typenvergleich, auf der Schreibmaschine von Tomas Schmit geschrieben. - Dick Higgins schuf 1961 den Begriff der "Danger Music" der in der Folge bis heute verschiedene Künstler zu eigenen Werken anregte. Dabei sind sowohl die Danger Music als auch die Lectures, ab 1957, und Concerts als minimalistische Konzepte zu verstehen. - Im Archiv von Dick Higgins in der Northwestern University Library findet sich eine Fotokopie einer Variante des Textes für Robert Crozier. Der vollständige Text an manchen Stellen abweichend zur gedruckten Fassung in "Foew and Ombwhnw: A Grammar of the Mind and a Phenomenology of Love and a Science of the Arts As Seen by a Stalker of the Wild Mushroom", Something Else Press 1969. - Die Übersetzung von Tomas Schmit war für die nie erschienene Anthologie "Spielpläne 1" vorgesehen.

      [Bookseller: Daniel Thierstein]
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        THE MULTIPLE IMAGE.; Introduction by Jonathan Williams

      The Press of The Institute of Design, Chicago 1961 - Square 8vo., 17 b&w plates from photographs. Photo-illustrated stiff wrappers. Slight curling at the forward edge of the front wrapper, else near fine. SIGNED by the photographer. Callahan's first monograph, and the first monograph issued by the Institute of Design. [Attributes: First Edition; Signed Copy]

      [Bookseller: Andrew Cahan: Bookseller, Ltd., ABAA]
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        Aufsätze 1945-1969. Besprechungen 1948-1969. Nachträge. 4 Bde. u. 2 Nachträge, zus. 6 Bde. Kiel, 1965-69. 4. OHldr.-Bde. mit goldgepr. Titeln, in 2 OPp.-Schubern.

      'Herrn Prof. Dr. Erich Schneider zum 65. Geburtstag [sowie] in dankbarer Erinnerung an gute Zusammenarbeit überreicht von der Bibliothek des Instituts für Weltwirtschaft'.- Umfangreiches (wohl einzigartiges) Kompendium der Schriften Schneiders, der von 1961-68 Präsident des Kieler Instituts für Weltwirtschaft war.- Beiliegend eine Unterschriftenliste der Mitarbeiter des Instituts aus dem Jahr 1969.

      [Bookseller: Antiquariat Daniel Schramm e.K.]
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        BUtterfield 8

      Modern Library 1961 - Signed by O'Hara on title page, dated April 5, 1962. Former owner's name written on title page as well. A portion of a letter with O'Hara's Princeton, New Jersey address label and the former owner's name and address apparently written by O'Hara. Gray cloth with gilt and black stamping. 310 p. with six pgs of ads at rear. Very Good+ in Very Good+ dust jacket. Tiny stain on fore edge, front hinge a little free. Jacket price-clipped with a bit of rubbing. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Burnside Rare Books]
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        Le testament d'Orphée

      - Editions du Rocher, Monaco 1961, 13,5x18,5cm, broché. - Prima edizione, uno dei 60 esemplari numerati sul filo puro Marais, solo carta di grandi dimensioni. Iconografia. Bella copia. - [FRENCH VERSION FOLLOWS] Edition originale, un des 60 exemplaires numérotés sur pur fil Marais, seuls grands papiers. Iconographie. Bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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      - Liège, Éditions Dynamo, P. Aelberts, éditeur, 1961. Un feuillet broché: 14 x 19 cm, 14-[2]p. Édition originale, et seule édition spéarée de ce texte! Un des 40 exemplaires sur vélin astra blanc (no. 32), avant 11 sur Hollande. Édition limitée à seulement 51 exemplaires. En excellent état. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie de l'Univers]
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        Mastering the Art of French Cooking

      New York: Alfred A. Knopf, 1961. First Edition. Hardcover. Very Good. Stated first edition, first printing. Very Good, lacking the dust jacket. Spine and edges toned. Lightly bump to crown. Light spotting to edge of page block. Previous owner details and book plate to front free end paper, several small stain to rear end sheet. Pages show light signed of general use. A charming first printing of this modern culinary corner stone.

      [Bookseller: Burnside Rare Books]
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        Call for the Dead Signed John le Carré

      UK: Victor Gollancz, 1961. 1st Edition 1st Printing. Hardcover. Near Fine. Call for the Dead Signed by John le Carré First Edition First Impression Victor Gollancz 1961. No inscriptions. Lightly foxed, red cloth covers unblemished and unmarked. Gilt lettering still very much bright. A near fine copy. SIGNED by John le Carré without dedication to title page.

      [Bookseller: Brought to Book Ltd]
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