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Displayed below are some selected recent viaLibri matches for books published in 1963

        The Spy Who Came in From The Cold - first printing

      Gollancz, 1963 A first edition, first printing published by Gollancz in 1963. A near fine book without inscriptions (tear to page 209). In a very good clipped wrapper with a little fading to the spine and some wear to spine tips.[removed][removed]

      [Bookseller: John Atkinson Books]
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        A Clockwork Orange

      New York: W. W. Norton & Company, 1963. First Edition. Hardcover. Very Good. Stated first American edition, first printing. Near Fine with light wear at spine ends, light shelf wear, in a Very Good dust jacket with publisher's price of $3.95 intact though bottom flap corner clipped, fading and uneven toning, light soiling, shallow chipping at spine ends, several short closed edge tears and a slightly longer tear at the crown. Anthony Burgess' best-known novel, which was the basis of the 1971 Stanley Kubrick film.

      [Bookseller: Burnside Rare Books]
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        Lectures on Gravitation 1962-63. Lecture Notes by Fernando B. Morinigo and William G. Wagner.

      [Not published: Pasadena: California Institute of Technology, 1963]. First edition, very rare, of Feynman's lectures on gravitation, famous for their highly original approach to general relativity. "In this tour de force, we get to look over the shoulder of one of the most brilliant physicists of all time as he reinvents the theory of gravitation, at a time when his goal was to produce a consistent and finite quantum theory of gravitation" (fourmilab.ch/documents/reading_list/indices/book_888.html). "It is difficult, in the current climate, where such great interest has developed in unifying the different forces of nature, to realize how revolutionary Feynman's approach was ... this new picture of gravity and general relativity created a completely novel bridge between general relativity and the rest of physics that was not there before. It suggested, just as Feynman hoped it would, that one might use the tools of quantum field theory not only to understand general relativity but also to unify it with the other forces of nature ... Feynman did not find that a consistent quantum theory of gravity interacting with matter, without any nasty infinities, could be derived by simply treating general relativity as he had electrodynamics ... Nevertheless, every major development that has taken place in the fifty-odd years since Feynman began his work in this area, involving a line of scientists from Feynman to Weinberg to Stephen Hawking and beyond, has built on his approach" (Krauss, pp. 245-9). OCLC lists six copies in US; no copies in auction records. "In these lectures, Feynman discards the entire geometric edifice of Einstein's theory of gravitation (general relativity) and starts from scratch, putting himself and his students in the place of physicists from Venus (who he calls "Venutians"--Feynman was famously sloppy with spelling) who have discovered the full quantum theories of electromagnetism and the strong and weak nuclear forces but have just discovered there is a very weak attractive force between all masses, regardless of their composition ... Feynman then argues that the alien physicists would suspect that this new force worked in a manner analogous to those already known, and seek to extrapolate their knowledge of electrodynamics (the quantum theory of which Feynman had played a central part in discovering, for which he would share a Nobel prize in 1965). They would then guess that the force was mediated by particles they might dub "gravitons". Since the force appeared to follow an inverse square law, these particles must be massless (or at least have such a small mass that deviations from the inverse square law eluded all existing experiments). Since the force was universally attractive, the spin of the graviton must be even (forces mediated by odd spin bosons such as the photon follow an attraction/repulsion rule as with static electricity; no evidence of antigravity has ever been found). Spin 0 can be ruled out because it would not couple to the spin 1 photon, which would mean gravity would not deflect light, which experiment demonstrates it does. So, we're left with a spin 2 graviton" (fourmilab.ch/documents/reading_list/indices/book_888.html). Feynman "asks in Lectures 1-6: can we find a sensible quantum field theory describing massless spin-2 quanta (gravitons) coupled to matter, in ordinary flat Minkowski spacetime? The classical limit of such a quantum theory should be governed by Einstein's general relativistic field equation for the classical gravitational field. Therefore, to ascertain the form of the classical theory, Feynman appeals to the features of the quantum theory that must underlie it. Geometrical ideas enter Feynman's discussion only through the "back door," and are developed primarily as technical tools to assist with the task of constructing an acceptable theory. So, for example, the Riemannian curvature tensor (a centerpiece of the conventional formulation of general relativity) is introduced by Feynman initially (§6.4) only as a device for constructing terms in the gravitational action with desired invariance properties. Not until §9.3 does Feynman reveal that the curvature has an interpretation in terms of the parallel transport of a tangent vector on a curved spacetime manifold... "After conducting a search for a sensible theory that describes the interactions of a massless spin-2 field in flat space, Feynman does not fail to express delight (in §8.4) that the resulting theory has a geometrical interpretation: "... the fact is that a spin 2 field has this geometrical interpretation; this is not something readily explainable - it is just marvelous." The development of the theory in Lectures 8-10 makes use of geometrical language, and is much more traditional than the approach of the earlier lectures. "A striking feature of these lectures is that Feynman is frequently drawn to philosophical issues. (He often showed disdain for philosophers of science and for the word "philosophical," which he liked to mockingly pronounce "philo-ZAW-phical;" nevertheless, he is revered, at least by physicists, for his philosophical insights.) For example, he ruminates in §1.4 on whether quantum mechanics need actually apply to macroscopic objects. (The argument he sketches there to support the claim that quantization of gravity is really necessary was presented at the 1957 Chapel Hill conference, where it provoked a great deal of discussion.) Another example is his preoccupation with Mach's principle. Mach's idea - that inertia arises from the interactions of a body with distant bodies - bears a vague resemblance to the interpretation of electrodynamics proposed by Feynman and Wheeler when Feynman was in graduate school: that the radiation reaction force on an accelerated charge arises from interactions with distant charges, rather than with the local electromagnetic field. So perhaps it should not be surprising that in §5.3 and §5.4 Feynman seems sympathetic to Mach's views. He gropes for a quantum mechanical formulation of Mach's principle in §5.4 ... "It is also revealing when Feynman bullheadedly pursues an unpromising idea in §2.3 and §2.4 - that gravitation is due to neutrino exchange. This is an object lesson on how Feynman believes a scientist should react to a new experimental phenomenon: one should always look carefully for an explanation in terms of known principles before indulging in speculations about new laws. Yet, at the same time, Feynman emphasizes over and over again the importance of retaining scepticism about accepted ideas, and keeping an open mind about ideas that appear flaky ... "It is remarkable that concurrently with this course on gravitation, Feynman was also creating and teaching an innovative course in sophomore (second-year undergraduate) physics, a course that would become immortalized as the second and third volumes of The Feynman Lectures on Physics. Each Monday Feynman would give his sophomore lecture in the morning and the lecture on gravitation after lunch. Later in the week would follow a second sophomore lecture and a lecture for scientists at Hughes Research Laboratories in Malibu. Besides this teaching load and his own research, Feynman was also serving on a panel to review textbooks for the California State Board of Education, itself a consuming task, as is vividly recounted in Surely You're Joking, Mr. Feynman. Steven Frautschi, who attended the lectures on gravitation as a young Caltech assistant professor, remembers Feynman later saying that he was "utterly exhausted" by the end of the 1962-63 academic year. "Feynman delivered 27 lectures in all, one each week over the full 1962-63 academic year. The class met in a tiny room with just two rows of seats, on the third floor of Caltech's East Bridge Laboratory; no more than 15 people attended a typical lecture. (At least two of the students attending, James Bardeen and James Hartle, later made significant contributions of their own to gravitation theory.) The lectures were taped, but because they were highly informal, Morinigo and Wagner found it necessary to revise the material substantially in order to produce a readable set of notes. For the most part, Wagner worked on the mathematical presentation and Morinigo worked on the prose. The resulting notes were then reviewed by Feynman, he made various corrections and additions, and the notes were distributed to the students. The notes are pervaded by Feynman's spirit and are sprinkled with his jokes, but inevitably his idiosyncratic use of language has been only partially preserved ... Morinigo and Wagner prepared notes for all 27 lectures, but by the end of the academic year Feynman had reviewed and corrected only the first 11. Evidently he then became distracted by other projects and never returned to the task of editing the notes. Thus, only the notes for the first 11 lectures were distributed to the students during 1962-63" (ibid.). The next five lectures (12-16) were included in a second edition of the lectures, distributed in mimeographed form in 1971, but these lectures were not checked by Feynman and contain several errors. Lectures 1-16 were reprinted in 1995. The remaining eleven lectures (17-27), which were mainly concerned with Feynman's attempts to develop a quantum theory of gravity, have never been published, although Feynman did contribute an account of this work to the Wheeler Festschrift, Magic without Magic, in 1972. The ideas Feynman worked out in these lectures date back to the mid-1950s, or perhaps earlier. "We know from Feynman's comments at the 1957 Chapel Hill conference that by then he had already worked out the calculations described in Lectures 2-6. Murray Gell-Mann reports that Feynman and he discussed quantum gravity issues during the Christmas break in 1954-55, and that Feynman had already made "considerable progress" by that time" (ibid.). Lawrence M. Krauss, Quantum Man, 2011; John Preskill & Kip S. Thorne (eds.), Foreword to Feynman Lectures on Gravitation, Reading, MA: Addison-Wesley, 1995. Mimeographed notes, printed on recto only. 4to (280 x 218 mm), pp. [i], 155, numerous mathematical formulas and diagrams in text. Plain card covers (probably original). Several marginal notes by a well-informed reader.

      [Bookseller: SOPHIA RARE BOOKS]
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        Air Force One J.F.K‘s visit to Ireland Autographed Pamphlet.

      - Air Force One Autographed Pamphlet. John F. Kennedy ‘s visit to Ireland was a truly historical event. This original pamphlet with the American Presidential Seal and Air Force One logo bears the signature of former President of Ireland, Eamon de Valera during President Kennedy’s visit in June of 1963. Originally purchased from the estate of a former Air Force One pilot, who flew Kennedy to Ireland. Welcome aboard the Presidential Aircraft, 16 pages, 8″ x 8″ with major headings: Comfort and Convenience; What makes an aeroplane fly; General operating procedures; Did you know? and Emergency procedures. John F Kennedy received a rapturous welcome on an emotional visit to his ancestral homeland in County Wexford. “When my great-grandfather left here to become a cooper in East Boston he carried nothing with him except two things – a strong religious faith and a strong desire for liberty.” – John F. Kennedy [Attributes: Signed Copy; Soft Cover]

      [Bookseller: De Burca Rare Books]
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        On Her Majesty's Secret Service (a James Bond novel)

      London: Jonathan Cape 1963 [actually issued September 1962]. PROOF copy in softcovers. Pp.288. Some rubbing to joints, wrinkling to spine as usual, light edgewear and faint soiling to upper. A much better copy than usually encountered- for a proof, this is very good indeed, housed in a morocco-spined clamshell box. The text features numerous changes to the published text, and "has more errors and required more amendments than any other Fleming title" Gilbert, p.354. both in terms of careless composition and poor spelling, as well as larger changes in text or resetting of passages. Published in 1963, this is the second part of a collection of James Bond books that has become known as the 'Blofeld' trilogy, sitting between Thunderball (1961) and You Only Live Twice (1964). The title was filmed by Eon Productions in 1969, starring George Lazenby as 007, Diana Rigg as Tracy and Telly Savalas as Ernst Stavro Blofeld. Directed by Peter Hunt, with a terrific storyline and slick script from the ever-reliable screenwriter Richard Maibaum, O.H.M.S.S. features superb action, spectacular locations, a marvelous John Barry score, and, in Contessa Teresa de Vicenzo (aka Tracy, aka Mrs James Bond), probably the greatest Bond Girl of all time. The movie, unlike most in the series, was faithful to the original Ian Fleming novel and is a fine thriller; one of the grittiest movies of the series. Ian Fleming The Bibliography [A11a].

      [Bookseller: Adrian Harrington]
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        La planète des singes

      First commercial edition, one of 50 numbered copies on alfa paper, the only large paper copies.A rare and fine, unsophisticated, copy.  Julliard Paris 1963 15x20cm broché

      [Bookseller: Librairie Le Feu Follet]
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        La Planete des Singes. Roman.

      [Paris:] Editions René Julliard, 1963 - Octavo. Original green cloth, titles to spine and upper board gilt, tree design to upper board in blind, yellow endpapers. Very lightly rubbed with a few faint spots to the lower board. An excellent copy. First edition, first impression of Planet of the Apes, one of an unspecified limited edition. With an inserted bookplate signed by the author. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Russian Icons. Forty-Eight Paintings in Full Color.

      London, (1963). 9 x 10. 40 pages48 plates. Bound by Philip Smith in 1964 (blindstamp signed on rear pastedown), in rose and blue morocco inlaid stylized icons. In new deep blue & rose tray case by Barbara Blumenthal. Corners a bit rubbed, blue on spine faded. Very good. Inscribed by Smith opposite the title page to a fellow bookbinder: "To Joan, with many thanks for your continuing kindness. Philip." With a highly interesting 2-page autograph letter to Joan, dated 13 July 1970. In his letter Smith thanks Joan for the timely (but surprise) arrival of a cheque as they are packing up for a move, and the expensive has been far greater than expected. He was sorry to miss her at the Exhibition of Modern Bindings at Hatchards (where he didn't sell anything). "Miss Greenhill will be pleased that you like her bindings. I think she is very much like you in her approach to bookbinding." Smith goes on to discuss "strange manifestations in bookbinding" (expects his are "horrid to most people"), the Designer Bookbinders, other exhibitions. Smith sends this Russian Icons binding (possibly the most acceptable) in thanks for Joan's help. A very appropriate and handsome binding by one of the most important British binders of the 20th century. It seems likely that Joan is Joan Rix Tebbutt.

      [Bookseller: The Veatchs Arts of the Book]
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        A Section of one of the Muntz metal plates removed from the bottom of the hull of the "Cutty Sark" in the course of repairs to the ship in 1963.

      330 x 335mm approx, with irregular edges and several holes, some oxidation and patination, preserved in custom-made cloth flapcase with leather label. With original certificate of authenticity, stating this is no. 15 of an unstated limitation, signed by Henry Barraclough, Chairman of the "Cutty Sark" Society. Also with a copy of the 1953 "Cutty Sark and the Days of Sail" exhibition catalogue, and a copy of Frank G.G. Carr's The Story of the Cutty Sark (1972). During ongoing restoration to the Cutty Sark in 1963, 289 sheets of Alumbro were used to replace badly dezincified Muntz metal sheets, some of the original sheets being offered for sale. Muntz Metal is a form of alpha-beta brass with about 60% copper, 40% zinc and a trace of iron. It is named after George Fredrick Muntz, a metal-roller of Birmingham, England. Muntz commercialised the alloy following his patent of 1832, although William Collins had patented a 56:44 alloy in 1800. Its original use was as a replacement for the copper sheathing placed on the bottom of boats, as it maintained the anti-fouling abilities of the pure copper. As it cost around two thirds of the price of pure copper and had identical properties for this application, it became the material of choice and Muntz made his fortune. Later it was used to sheathe the piles of piers in tropical seas, as a protection against teredo shipworms, and in locomotive tubes. Muntz Metal is still the term this form of brass is known by. It is a form of brass that must be worked hot and is used for machine parts that must be corrosion resistant. After successful experimentation with the sheathing Muntz also took out a patent for bolts of the same composition and these also proved a success, for not only were they cheaper they were also very strong and lasted longer. The hull of the Cutty Sark was a notable use of Muntz Metal.

      [Bookseller: Henry Sotheran Ltd.]
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        On Her Majesty's Secret Service. Proof and Inscribed copy

      London: Jonathan Cape. 1963. 2 copies from the collection of Aubrey Forshaw; a 1963 first impression inscribed by the author, together with an annotated proof copy [issued 1962] in the proof-only dustwrapper. The hardcover volume is in very good condition; dustwrapper a little rubbed and nicked. With a signed presentation inscription to the flyleaf; "To Aubrey / who wrote some of it! / From Ian". The inscription relates to the passages corrected by Forshaw, particularly regarding motoring matters, as found within his proof copy of this title. The corrected softcover proof is in very good condition; the oversized dustwrapper has a few nicks and marks, with some creasing to the unsupprted area along the top edge. Both the book and jacket differ considerably to the published version. Laid in is a typed letter from Jonathan Cape chairman Michael Howard (drafted by Valerie Kettley) to Aubrey Forshaw, dated 10th December 1962 it reads "I finally got Ian to adopt a more intelligible variant of the offending back axle passage in OHMSS and I have checked that all the literals you marked have been corrected in the press proof. I have an idea you said you wanted your proof back and therefore return it herewith..." All three items are housed in a purpose-made quarter leather clamshell box. Provenance: Aubrey Forshaw, Managing Director of Pan Books, publisher of the James Bond novels in paperback and Ian Fleming's expert for technical information concerning James Bond's cars. It was in this respect that he was asked by Fleming to read the proof of On Her Majesty's Secret Service and correct any errors. "the offending back axle passage" referred to in Michael Howard's letter appears on page 23, with Aubrey's corrections in pencil to the margins. Further corrections, suggestions and typographical errors appear in the margins elsewhere, all of which are adopted within the first edition text. An outstanding presentation with additional manuscript material relating to the tenth James Bond novel. References: Gilbert, pages 354-356, 645-6. Gilbert A11a (1.1).

      [Bookseller: Adrian Harrington]
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        Joy in the Morning

      New York: Harper & Row, 1963. First Edition. Hardcover. Very Good. Signed. First edition, first printing. Signed by the Betty Smith on blank sheet tipped in by the publisher at the front. Near Fine in a Very Good dust jacket with light rubbing, light edge wear and several short closed tears. A tale of two struggling young newly-weds forging a future together, who married against their families' wishes.

      [Bookseller: Burnside Rare Books]
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        Au-delà du tachisme

      First edition, an advance (service de presse) copy.Autograph inscription signed by Georges Mathieu to the art critic Gerhard Weber: "... en grande communion et avec l'espoir d'avoir une autre conversation avec lui...[in deep communion and in the hope of being able to talk again]", with an original drawing in pencil filling the lower cover, initialed and dated.Small traces of adhesive paper to final endpaper. Julliard Paris 1963 14x20cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Trio For Strings

      [NY]: [Fluxus], [1963]. Paperback. [16]pp. Side stapled translucent wraps. Contains the score and player instructions for this, his last twelve tone piece, written in 1958. Inscribed and signed by Young on the verso of the title page thus: For Janet/ love/ LaMonte Mariana/second day of august 1965. 'The piece exhibits many of the characteristics of his earlier works , such as the Weberrnian alignment of important structural points with divisions in the tone-row procedures; a spare, unilinear unfolding of the pitch series; and an emphasis on the intervals of seconds, sevenths, and perfect fourths/fifths. Grimshaw 33-47.Fluxus Codex page 585-5. OCLC locates only four copies in addition to MOMA. Very good.

      [Bookseller: Kenneth Mallory, ABAA]
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        Seefahrerwind, ein Gedicht

      H.Heiderhoff & M.Marschner 1963 - - H.Heiderhoff & M.Marschner , Wülfrath 1963, 18,5x29cm, broché. - Edition originale, un des 200 exemplaires numérotés sur Bodoni antiqua, seuls grands papiers. Ouvrage illustrés de 3 bois originaux de Hans Arp. Signatures autographes de Hans Arp et Wieland Schmied en dessous de la justification du tirage. Dos et plats légèrement et marginalement éclaircis, agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition, one of 200 numbered copies on Bodoni Antiqua only leading copies. Signing autographs of Hans Arp and Wieland Schmied below the justification of the draw. spine and boards slightly and marginally thinned, nice copy. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Centro - Nord Sud

      Edizioni del Drago, 1963. Due litografie oiriginale a due colori, blu e arancione (Centro), grigio e nero (Nord Sud) numerate e firmate a matita dall'Artista. L'opera fa parte della Cartella "Raccolta numero uno" a cura di Emilio Chiusa composta da 14 litografie originali di Rodolfo Aricò, Agostino Bonalumi, Enrico Castellani, Edoardo Franceschini, Ettore Sordini, Angelo Verga, Arturo Vermi (due litografie per ogni artista: tutte le immagini disponibili su richiesta). Prefazione di Luciano Bianciardi e piccola antologia di autori classici . Cm 41,5 x 31,6. . Ottimo (Fine). Tiratura 98 esemplari. Le prime due litografie eseguite dall'Artista.\

      [Bookseller: Studio Bibliografico Marini]
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        MAPPING THE TRANSMISSISSIPPI WEST, 1540-1861....

      San Francisco: The Institute of Historical Cartography, 1957-1963. folio. two-toned cloth. xiv, 264; xiii, 281; xiii, 260; xix, 222; (iv), 223-487 pages. First edition, limited to 1000 sets. Designed by The Grabhorn Press. Vol. I was printed by the Grabhorn Press; Vols. 2-5 were printed by Taylor & Taylor & James Printing from the Grabhorn design. Wheat, the well-known California historian, undertook this work in an effort to trace the opening of the American West by studying the succession of maps which, beginning in the 1540s, accurately trace the paths of the explorers and the record of the resulting growth of knowledge. He sought out every map, relating to the Transmississippi West before 1861 and selected the most interesting and important. These maps cover the story of Spanish, French and English exploration.In all, 1,302 maps are fully described, with many illustrated in full-page. A chronological calendar of maps, a full index, and a system of marginal references make these volumes easier to use than any other comparable work....

      [Bookseller: Oak Knoll]
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        Oh les beaux jours

      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."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). Les éditions de minuit Paris 1963 10x18,5cm relié

      [Bookseller: Librairie Le Feu Follet]
 17.   Check availability:     Direct From Seller     Link/Print  


        The Spy Who Came in from the Cold - In Unfaded Wrapper with the wrap-around band

      Gollancz, 1963 A first edition, first printing published by Gollancz in 1963. A near fine book with fading to the spine. One name and date to the front endpaper. In an unfaded wrapper which is not price clipped and has a couple of light stains to the rear panel and some creasing and a couple of small nicks to the head of the spine. Accompanied by the wrap-around band which has been repaired and is darkened to the spine. A really nice copy and comes with a custom made clamshell box.[removed][removed]

      [Bookseller: John Atkinson Books]
 18.   Check availability:     Biblio     Link/Print  


        The Earth-Owl and Other Moon-People. Illustrated by R. A. Brandt.

      London: Faber and Faber, 1963 - Octavo. Original blue cloth, gilt titles to spine. With the dust jacket. A fine copy, in the jacket with a small closed tear to head of front flap fold. With 11 full page illustrations by R. A. Brandt. First edition, first impression, signed by the author in red ink to the front free endpaper. These poems did not appear in the US until their publication in Moon-Whales in 1976. Uncommon signed. Sagar and Tabor A7. [Attributes: First Edition; Signed Copy]

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


        On Her Majesty's Secret Service - a MINT copy and 176/250 limited edition SIGNED

      Cape, 1963 Number 176 of 250 copies signed by the author, complete with colour portrait by Amherst Villiers, original vellum-backed black buckram, original glassine jacket, t.e.g., [Gilbert A11a], 8vo, 1963. Quite simply, the beset copy of this, the limited signed edition we have ever handled. Complete with the original glassine. Unread, possibly opened a handful of times and importantly, the only edition, signed by Fleming.

      [Bookseller: John Atkinson Books]
 20.   Check availability:     Biblio     Link/Print  


        The White House Years: Mandate for Change 1953-1956 and The White House Years: Waging Peace 1956-1961.

      Garden City: Doubleday and Company, 1963-65. Signed limited first editions, each volume numbered one of 1500 copies. Two volumes, thick octavo, original tan cloth, original slipcases. Both are fine condition with the original acetate dust jacket, which are in near fine to fine condition. The slipcases are in near fine condition. A nice set. This is the story of President Eisenhower?s first administration. Dwight D. Eisenhower, one of the major figures of the twentieth century, writes an account of the events, as he saw them, leading up to a sweeping mandate, and then pursues the theme of change in the years 1953-1956

      [Bookseller: Raptis Rare Books]
 21.   Check availability:     Biblio     Link/Print  


        Cat's Cradle.

      Holt, Rinehart & Winston, New York 1963 - First edition / First printing. First state with green topstain. Signed by the author as Kurt Vonnegut Jr. in an early hand. He dropped the Jr. after his father's death in the early 1970's. Green cloth, with blue front board. 233 pages. Fine in fine dust jacket. An beautiful copy of a cheaply made book, a high point of Twentieth Century literature and arguably Vonnegut's best. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Orpheus Books]
 22.   Check availability:     AbeBooks     Link/Print  


        Die Göttliche Komödie. Ins Deutsche übertragen von Ida und Walther von Wartburg, kommentiert von Walther von Wartburg, 48 Illustrationen nach Holzschnitten von Gustave Doré.

      Manesse-Verlag, 1963 - 1200 Seiten Artikel stammt aus Nichtraucherhaushalt! EK1086 Sprache: Deutsch Gewicht in Gramm: 499

      [Bookseller: buecher_baer80]
 23.   Check availability:     ZVAB     Link/Print  


        The Natural

      London: Eyre & Spottiswoode, 1963. First Edition. Hardcover. Very Good. First British edition, first printing. Near Fine with light shelf wear; small divot, light reading crease and light lean to spine, in a Near Fine dust jacket with price intact though struck out with an erased pencil mark, light rubbing along folds and light edge wear. A very sharp copy.

      [Bookseller: Burnside Rare Books]
 24.   Check availability:     Biblio     Link/Print  


        Qui livre son mystère meurt sans joie

      - Pierre Bettencourt, Saint-Maurice d'Etelan 1963, 13x21,5cm, broché. - Edizione originale stampato 250 copie numerate su cui. Libro illustrato, frontespizio, un disegno di Hans Bellmer. Bella copia. - [FRENCH VERSION FOLLOWS] Edition originale imprimée à 250 exemplaires numérotés sur vergé. Ouvrage illustré, en frontispice, d'un dessin d'Hans Bellmer. Agréable exemplaire.  

      [Bookseller: Librairie Le Feu Follet]
 25.   Check availability:     maremagnum.com     Link/Print  


        Le Barbier de Seville. Decors & Personnage par A. Derain.

      Au pont des arts, Paris 1963 - Paris, Au pont des arts, (1963). Folio. M.56 (10 doppelbl.-gr., meist farb.) Orig.- Lithographien v. Andre Derain. 148 S., 4 Bll.Lose Bogen m. illustr. OUmschl. in OLwd.-Kassette. Nr.6 v. 100 (GA 270) Exempl. Monod 1248 - Die Lithographien geben Kostüme u. Bühnenbilder wieder, die d. Künstler 1953 anläßl. d. Aufführung v. Rossinis Oper beim Festival v. Aix-en-Provence entworfen hat. Die Originalgouachen wurden v. Mourlot auf Stein übertragen u.a. Velin de Rives a la forme gedruckt. -A.Derain (1880 -1954), seine zuerst fauvistische Malerei wird durch d. Bekanntschaft m. Picasso stark v. Kubismus beeinflußt. With 56 original lithographs by Derain, 10 of which are double-page illustrations. 148pp. Loose-bound in original covers in original cloth-bound case. The lithographs reproduce the costumes and stage-designs that Derain had constructed for the 1913 performance of Rossini's opera at the Aix-en-Provence Festival. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Seidel & Richter]
 26.   Check availability:     ZVAB     Link/Print  


        Centro - Nord Sud

      Milano: Edizioni del Drago, , 1963. Ottimo (Fine). Due litografie oiriginale a due colori, blu e arancione (Centro), grigio e nero (Nord Sud) numerate e firmate a matita dall'Artista. L'opera fa parte della Cartella "Raccolta numero uno" a cura di Emilio Chiusa composta da 14 litografie originali di Rodolfo Aricò, Agostino Bonalumi, Enrico Castellani, Edoardo Franceschini, Ettore Sordini, Angelo Verga, Arturo Vermi (due litografie per ogni artista: tutte le immagini disponibili su richiesta). Prefazione di Luciano Bianciardi e piccola antologia di autori classici. Cm 41,5 x 31,6. . Ottimo (Fine). Tiratura 98 esemplari. Le prime due litografie eseguite dall'Artista.

      [Bookseller: Studio Bibliografico MArini]
 27.   Check availability:     Biblio     Link/Print  


        Joy in the Morning.

      New York: Harper & Row, 1963 - Octavo. Original blue cloth, titles to spine gilt. With the dust jacket. In the dust jacket with small chip to top end of spine. A very good copy. First edition, first printing. Signed by the author on blank inserted by the publisher. [Attributes: First Edition]

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


        On Revolution.

      New York, The Viking Press Inc., 1963 - 343 Seiten mit Schutzumschlag, dieser an den Rändern berieben, Ex-Libris-Stempel auf Innendeckel, ansonsten das Buch sauber und frisch, auf dem Vorsatz persönliche Widmung der Autorin für Fred Stein und und Monogrammiert. Alfred Stein (später Fred Stein - * 1909 - + 1967) war ein Pionier der Kleinbildfotografie. Insbesondere seine Bildreportagen von den Straßen von Paris aus den 1930er Jahren und seine Portraits Albert Einsteins brachten Stein Weltruhm ein. Hannah Arendt (* 14. Oktober 1906 in Linden - + 4. Dezember 1975 in New York; eigentlich Johanna Arendt) jüdische Publizistin und Gelehrte deutscher Herkunft. Signierte Bücher von Hannah Arendt sind äußerst selten!!! Sprache: Englisch Gewicht in Gramm: 650 8°, gebundene Ausgabe, schwarzer Original Ganz-Leineneinband, Kopffarbschnitt [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bührnheims Literatursalon GmbH]
 29.   Check availability:     ZVAB     Link/Print  


        The Making of the English Working Class

      London: Victor Gollancz Ltd,, 1963. Octavo. Original blue boards, gilt lettered spine. With the dust jacket. Book label of Denis Gray on front free endpaper. jacket spine toned, crease across corner of back panel, a little foxing to top and fore edge. An excellent copy. First edition, first impression. Thompson "felt that he had much to learn from the life experiences of his working-class students. The whole tone of his most celebrated work, The Making of the English Working Class (1963), which made his reputation, testifies to this. It was fittingly dedicated to one of these students, and for all its international success it is impossible not to sense that the audience he felt himself to be addressing was a wider one than that of the academy" (ODNB). Scarce in the jacket.

      [Bookseller: Peter Harrington]
 30.   Check availability:     Biblio     Link/Print  


        TRAVELS WITH CHARLEY ** SIGNED By the Author **

      Viking, NY 1963 - ***** This is the first edition, twelfth printing (with "Twelfth printing February 1963" stated on the copyright paged) ***** This book is SIGNED and dated by the author (John Steinbeck) on the second page. ***** Very nice hardcover with the original dust jacket.***** There is NO writing, NO bookplates, and NO remainder marks. It is NOT a book club edition, and NOT a former library book. The dust jacket is NOT price-clipped ($4.95). ***** CONDITION: Both the book and the dust jacket are in NEAR FINE condition (spine of dust jacket toned, as usual, otherwise nice). ***** We include new mylar (clear) dust jacket protectors with all books at no charge. ***** OUR GUARANTEE TO YOU: All books are guaranteed to be as described. We believe that no sale is complete until you are happy. Any book is returnable for a full refund (including postage) if you're not 100% satisfied. All books are packaged very carefully and shipped via USPS Mail with Delivery Confirmation. ***** Thank you! Richard Vick, Modern First Editions (Buying and Selling Modern First Editions since 1982). [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Richard Vick, Modern First Editions]
 31.   Check availability:     IberLibro     Link/Print  


        I cavalieri della Tavola Rotonda, dramma in tre atti. Introduzione e versione italiana di Walter Mauro. Taccuino scenico di Fabrizio Clerici

      Canesi, 1963. Album in folio (cm. 40,5x28,5), 289(3) pp. di cui circa 200 riproducono appunti, disegni e tempere di Fabrizio Clerici. Ritratti originali di Jean Cocteau (2) e Fabrizio Clerici (eseguiti da L. Civerchia). Legatura ed. in simil-pelle con un disegno in oro al piatto anteriore. Custodia fig. con lievi abrasioni, ma nel complesso ottimo esemplare. Edizione a tiratura limitata e numerata (ns. 333/600). Dedica di Fabrizio Clerici. Eccezionale insieme, caratterizzato fortemente dal grande ritratto di Clerici sulla prima carta. Il volume proviene dalla biblioteca del pittore romano Luigi Civerchia. I ritratti qui presenti mostrano l’idea di concepire il libro come un intelligente ed espressivo contenitore di memorie, le proprie innanzitutto, ma anche quelle dei diversi personaggi che egli ritrae, come intrecciandone i destini tra le pagine di uno stesso testo. Vale la pena notare che il nostro pittore ha scelto solo i libri come gallerie per i ritratti. Chi ha visitato qualche sua mostra, tra le tante tenutesi in Italia e all’estero, avrà infatti osservato che nei paesaggi o in altre composizioni le figure umane sono per lo più assenti, o comunque, hanno un ruolo del tutto secondario. E’ quindi una vera scoperta il Civerchia ritrattista, e lo è ancor più considerando la particolarità di esprimersi su di un mezzo singolare come sono le pagine di un libro. Luigi Civerchia è nato a Roma, nel popolare quartiere di Trastevere, nel 1928. Dopo una prima esperienza presso la bottega di uno scultore, continua il suo percorso nell’Atelier di Vittorio Grassi, momento fondante della sua formazione umana ed artistica. Si avvicina poi alla Scuola Romana seguendo con entusiasmo gli insegnamenti dei suoi Maestri ideali: Mafai, Pirandello e Quaglia.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
 32.   Check availability:     maremagnum.com     Link/Print  


        5 posters , 4 for Brown movies "Surfing Hollow Days, c. 1961; "Water-Logged" c. 1962; "The Endless Summer", c. 1964 and "Surf-o-rama: The Original and Unequaled Surf Show! and one for Jim Freeman's "Let there be Surf"

      1963. 4 vols. Fine. 4 vols.

      [Bookseller: James Cummins Bookseller]
 33.   Check availability:     Biblio     Link/Print  


        From Russia With Love (Bons Baisers de Russie).

      Printed in Belgium by Lichtert and Sons, Brussels. n.d. [1963]. A scarce Belgian petit-affiche poster for the 1963 United Artists film 'From Russia With Love', starring Sean Connery as Ian Fleming's James Bond, produced by Cubby Broccoli and Harry Saltzman's EON Productions. Folded, condition B . 20x14 inches, in simple black frame. Nourmand, p.40 (1965 version). Ex-BBA, Sale 30th May 2013.

      [Bookseller: Adrian Harrington]
 34.   Check availability:     Direct From Bookseller     Link/Print  


        DICK AND JANE FIGURES

      DICK AND JANE. (FIGURES) DICK AND JANE FIGURES. Offered here is a complete set as issued of 5 Dick and Jane figures including Puff and Spot accompanied by a 4 page pictorial brochure enclosed (which indicates that these figures were issued in 1963 as a set). Dick, Jane and Sally are unpunched and in color on die-cut sheets. Dick is 10 1/2", Jane is 9", Sally is 7), and there are accompanying smaller figures of a Raggedy Ann doll, Puff, Spot, books and toys. The 4 page printed brochure gives instructions to the teachers on how to help pupils read, has suggestions on how the figures can be used as puppets.

      [Bookseller: Aleph-Bet Books, Inc.]
 35.   Check availability:     Biblio     Link/Print  


        NOI SIAMO UTOPIA

      RIZZOLI, MILANO 1963 - ZODIACO ITALIANO Traduzione di Enrico Rambaldi, pagine lievemente ingiallite ai bordi, coperta rigida verde con titoli e fregi d'oro al dorso, sovraccoperta scolorita al dorso e con segni di usura ai bordi La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 999,00 euro.

      [Bookseller: Biblioteca di Babele]
 36.   Check availability:     AbeBooks     Link/Print  


        Die puppe

      First edition printed 2000 copies.Illustrated book many vignettes, drawn Collotype, glued in full page and drawings of Hans Bellmer.Cover illustrated colors by the artist.Precious autograph signed and dated in pencil by Hans Bellmer Alex Grall.Nice copy. Gerhardt Verlag Berlin 1963 17x21cm broché

      [Bookseller: Librairie Le Feu Follet]
 37.   Check availability:     Direct From Bookseller     Link/Print  


        I cavalieri della Tavola Rotonda, dramma in tre atti. Introduzione e versione italiana di Walter Mauro. Taccuino scenico di Fabrizio Clerici

      Canesi, Roma 1963 - Legatura ed. in simil-pelle con un disegno in oro al piatto anteriore. Custodia fig. con lievi abrasioni, ma nel complesso ottimo esemplare. Edizione a tiratura limitata e numerata (ns. 333/600). Dedica di Fabrizio Clerici. Eccezionale insieme, caratterizzato fortemente dal grande ritratto di Clerici posto all inizio del volume. Il volume proviene dalla biblioteca del pittore romano Luigi Civerchia. I ritratti qui presenti mostrano l idea di concepire il libro come un intelligente ed espressivo contenitore di memorie, le proprie innanzitutto, ma anche quelle dei diversi personaggi che egli ritrae, come intrecciandone i destini tra le pagine di uno stesso testo. Vale la pena notare che il nostro pittore ha scelto solo i libri come gallerie per i ritratti. Chi ha visitato qualche sua mostra, tra le tante tenutesi in Italia e all estero, avrà infatti osservato che nei paesaggi o in altre composizioni le figure umane sono per lo più assenti, o comunque, hanno un ruolo del tutto secondario. E quindi una vera scoperta il Civerchia ritrattista, e lo è ancor più considerando la particolarità di esprimersi su di un mezzo singolare come sono le pagine di un libro. Luigi Civerchia è nato a Roma, nel popolare quartiere di Trastevere, nel 1928. Dopo una prima esperienza presso la bottega di uno scultore, continua il suo percorso nell Atelier di Vittorio Grassi, momento fondante della sua formazione umana ed artistica. Si avvicina poi alla Scuola Romana seguendo con entusiasmo gli insegnamenti dei suoi Maestri ideali: Mafai, Pirandello e Quaglia. Album in folio (cm. 40,5x28,5), 289(3) pp. di cui circa 200 riproducono appunti, disegni e tempere di Fabrizio Clerici. Ritratti originali di Jean Cocteau (2) e Fabrizio Clerici (eseguiti da L. Civerchia).

      [Bookseller: Libreria Ex Libris ALAI-ILAB/LILA member]
 38.   Check availability:     AbeBooks     Link/Print  


        Le mythe tragique de l'Angélus de Millet. Interprétation "paranoïaque-critique"

      Jean-Jacques Pauvert 1963 - - Jean-Jacques Pauvert, Paris 1963, 21x27,5cm, reliure de l'éditeur. - Edition originale sur papier courant. Reliure de l'éditeur en pleine toile crème, dos lisse muet, étiquette de titre et une image encollées sur le premier plat complet de son fermoir et de son ruban. Iconographie, une coupure de presse et une carte postale répresentant l'Angélus de Millet jointes. Agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition on the current paper. Publishers'binding with full cream canvas, dumb smooth spine label and glued a picture on the first full flat of his clasp and his band. Iconography. Nice copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
 39.   Check availability:     AbeBooks     Link/Print  


        Typed letter signed. Probably Atlanta, 15. VIII. 1963.

      1963. 4to. ¾ p. To Josef Weil from Tel Aviv, who apparently supported him in his commitment to the civil rights movement: "[...] Your encouraging words are of inestimable value for the continuance of our humble efforts. It is heartwarming to know that we have friends all over the world who take time out of their busy schedules to write us. I trust that our paths will cross sometime in the future [...]". Written two weeks before his most famous speech, later known as "I Have a Dream". - On headed paper "Southern Christian Leadership Conference"; traces of folding.

      [Bookseller: Antiquariat Inlibris]
 40.   Check availability:     maremagnum.com     Link/Print  


        The Science of Being and Art of Living

      New York: New American Library, 1963. First Edition. Hardcover. Like New. First American edition. 320pp. Original black cloth with gilt spine lettering. Fine in Near Fine unclipped dust jacket with closed tear in top of back panel, light wear at tips. An excellent copy. The book that introduced many to the concept of Transcendental Meditation. It was wildly popular in the '60s and '70s with famous devotees such as The Beatles, The Beach Boys, and Ravi Shankar.

      [Bookseller: Burnside Rare Books]
 41.   Check availability:     IOBABooks     Link/Print  

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