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

        Cowboy Hat "made expressly for President Lyndon B. Johnson"

      [Johnson City, Texas], c. 1963-1969. "Cowboy Hat, size 6 3/4, gold stamped on the sweatband ""MADE EXPRESSLY FOR / PRESIDENT / LYNDON B. JOHNSON,"" ""RESISTOL / 'Self-Conforming,'"" and ""Wide / Country / XXX BEAVER."" With original cardboard box, with cover, worn at edges. Silverbelly, Open Road style. The satin liner has an outline of the state of Texas with a star identifying ""Johnson City / LBJ Ranch"" with Johnson's initials reproduced in his handwriting. Resistol, a Texas hat company, made these hats in different sizes for President Johnson (his hat size was 7 3/8) so he could give them away to friends and visitors; apparently never worn. Mint condition.LBJ Library: ""The Resistol 'Open Road' hat is widely associated with President Johnson. He wore it in several portraits and during his Around the World trip in 1967. The hat was also used as an iconic image for President Johnson in campaign materials."" The display in the ""Cornerstones of Civil Rights"" exhibit at the LBJ Presidential Library during the Civil Rights Summit, April 8-10, 2014, marking the 50th anniversary of the Civil Rights Act of 1964, included ""a Resistol beaver cowboy hat worn by Johnson."""

      [Bookseller: University Archives]
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        CHARLES NÈGRE PHOTOGRAPHE, 1820-1880.; Preface by Jean Adhémar

      André Jammes, Paris 1963 - Oblong folio, 41 pp., 30 tipped-in collotype plates, 1 large folding collotype plate with tissue guard. Plain stiff wrappers in printed over wrapper, which has a collotype mounted on front. With plain acetate dust jacket that has a tiny closed tear at the base of the spine. A complimentary card from Paul Jammes is laid-in. Fine, near new. An exquisite production. Limited to 300 numbered copies. [Attributes: First Edition]

      [Bookseller: Andrew Cahan: Bookseller, Ltd., ABAA]
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        An important vestige of Camelot: a unique autograph letter signed by Jackie Kennedy, written in the hours or days just after JFK's assassination, as former First Lady, but while still in the White House

      Washington, DC, n.d.. 4.5" x 3.5". "Unique Autograph Note Signed ""Jacqueline Kennedy"" on a large White House card, 4.5"" x 3.5"". Washington, D.C. [November 23-28, 1963]. To White House Chief Usher J. B. West. Light rust impression from paper clip at top edge of both sides. Fine condition.""Without you - we would never have been so happy here""In full, ""For J.B. West, Please don’t forget the President - Without you - we would never have been so happy here - With deepest appreciation, Jacqueline Kennedy""J.Bernard West was Assistant Usher of the White House from 1941 to 1957 when he became Chief Usher; he retired in 1969. Lady Bird Johnson wrote in her diary about first meeting West on the morning of November 26, 1963, at The Elms, the Johnsons' home in Washington, to discuss moving three rooms of furniture into the White House after Mrs. Kennedy and her children moved out. It was the day after President Kennedy's funeral.That afternoon, at Mrs. Kennedy's request, Mrs. Johnson came to the White House to discuss the housekeeping details. Mrs. Johnson wrote in her diary, ""She told that the two people in the house I could always depend on were Mr. West, who knew more than anybody else, and James Ketchum, the curator."" If there is ever a problem about anything (e.g. ""if you don’t like a particular type of cookie, for instance""), ""Just tell everything to Mr. West…""Mrs. Kennedy and her children left Washington on Thursday, November 28th, to spend the Thanksgiving holiday in Hyannis, returning to the White House on December 1st. It was during this last week in the White House that, according to First Lady author, journalist, and historian and Carl Anthony she ""wrote out by hand several dozen note cards, lined in black mourning with the crest of her husband’s family, to every individual person, be they full-time or part-time who worked in the White House and served her husband. In order to be certain that nobody was forgotten, Jackie Kennedy ended up writing about a dozen more than necessary. Each carried the same simple message of appreciation: 'Thank you for all you did to help the President. Jacqueline Kennedy.'""The White House card here offered is unique. Mrs. Kennedy did not have the black-bordered note cards until she returned to the White House on December 1st. This card must have been written in the days immediately following her husband's assassination, November 23-28, 1963. Jacqueline Kennedy was a highly educated woman, with a superb command of English, as well as other languages. She went on to have a career as a prominent book editor. Her use of this particular tense makes us certain this card was written after the assassination, but before receiving official mourning stationery.On Friday, December 6, 1963, exactly two weeks after the assassination, Jacqueline Kennedy and her two children moved out of the White House to their new temporary home in Georgetown, just three blocks from the house the Kennedys had left in January 1961. "

      [Bookseller: University Archives]
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        Le mystère d'Alceste ou qui n'a pas son minotaure?

      Plon, 1963. - Plon, Paris 1963, 12x19cm, broché. - Originale, uno dei 25 esemplari numerati sul filo puro, unico grande edizione cartacea. Piccoli morsi sul dorso e alcuni testimoni, altrimenti buona copia. - [FRENCH VERSION FOLLOWS] Edition originale, un des 25 exemplaires numérotés sur pur fil, seuls grands papiers. Bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Oh les beaux jours

      Les éditions de minuit, 1963. - Les éditions de minuit, Paris 1963, 10x18,5cm, relié. - Edition originale sur papier courant. Précieux envoi autographe signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Une tache en milieu du dos légèrement insolé. - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant. Reliure en demi box bleu turquoise, date dorée en queue, plats de papier à décor, gardes et contreplats de papier uni, couvertures et dos conservés, tête dorée, reliure signée de Goy & Vilaine. Précieux envoi autographe daté de Février 1957 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. « Que dire de ces plans qui glissent, ces contours qui vibrent, ces corps comme taillés dans la brume, ces équilibres qu'un rien doit rompre, qui se rompent, et se reforment à mesure qu'on regarde ? Comment parler de ces couleurs qui respirent, qui halètent ? de cette stase grouillante ? de ce monde sans poids, sans force, sans ombre ? Ici tout bouge, nage, fuit, revient, se défait, se refait. Tout cesse, sans cesse. On dirait l'insurrection des molécules, l'intérieur d'une pierre un millième de seconde avant qu'elle ne se désagrège. C'est ça la littérature. » (La Peinture des van Velde ou Le monde et le pantalon, in Cahiers d'Art n°11 - 12, Paris 1945)   Beckett ne parle pas ici, malgré les apparences, de son œuvre littéraire mais de la peinture de Geer Van Velde, ajoutant quelques lignes plus loin : « [Bram] Van Velde peint l'étendue. G[eer] Van Velde peint la succession. » Cet éloge, publié à l'occasion de la double exposition des Van Velde, Geer chez Maeght et Bram à la galerie Mai, est le premier texte d'importance sur ces peintres alors à peu près inconnus du public : « On ne fait que commencer à déconner sur les frères Van Velde. J'ouvre la série. C'est un honneur. » Il est aussi le premier texte critique écrit directement en français par un jeune écrivain irlandais qui n'a encore jamais publié en France. Ainsi, le premier et plus important écrit sur l'art de Beckett, composé à l'aube de sa carrière littéraire, instaure, dès l'origine, une relation fondamentale entre son œuvre en gestation et la peinture de ses amis : « Aussi a - t - on souvent lu ce texte en creux, ou en miroir, comme une des rares désignations de la poétique (à venir) de Beckett par lui - même, une sorte de programme anamorphique d'écriture » (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique par Pierre Vilar) Véritable déclaration d'intention du dramaturge, ce texte fondamental - dont Beckett confesse dès l'introduction la valeur introspective : « avec les mots on ne fait que se raconter » - inaugure la période créatrice la plus fructueuse de l'écrivain. En effet, à l'instar d'Apollinaire et de Cendrars, Beckett puise dans les problématiques artistiques de ses contemporains le ferment de son écriture à venir par « la mise en cause la plus profonde des présupposés narratifs, figuratifs ou poétiques. » (Pascale Casanova in Beckett l'abstracteur) L'influence majeure de la peinture moderne sur la structure - ou déstructuration - narrative du théâtre et des romans de Beckett sera révélée et analysée par de nombreux penseurs, dont Gilles Deleuze, Julia Kristeva ou Maurice Blanchot. C'est justement à partir de la peinture des Van Velde, de Geer, puis de Bram, que Beckett formalise cette volonté de traduire la question picturale en dramaturgie. Ainsi refuse - t - il les décors de Nicolas de Staël pour En attendant Godot car : « Il faut que le décor sorte du texte, sans y ajouter. Quant à la commodité visuelle du spectateur, je la mets là où tu penses. Crois - tu vraiment qu'on puisse écouter devant un décor de Bram, ou voir autre chose que lui ? » (Lettre à Georges Duthuit, 1952). Lorsqu'il rencontre Geer en 1937, « Beckett traverse une crise existentielle majeure, il vient de remodeler son premier roman Murphy, refusé par un grand nombre d'éditeurs, il sombre dans l'alcoolisme, quitte l'Irlande et s'installe définitivement à Paris » (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). Il revient d'un long voyage artistique en Allemagne où il s'est imprégné d'œuvres classiques et d'art contemporain - c'est lors de ce voyage qu'il découvre les Deux hommes contemplant la lune de Caspar David Friedrich, à l'origine de En attendant Godot. L'art est alors au cœur de sa réflexion créatrice et l'amitié qui va le lier à Geer puis plus tard à Bram et à leur sœur Jacoba (avec laquelle il entretint peut - être une relation plus qu'amicale) va profondément influencer sa vie et son écriture. Son premier écrit sur l'art est une courte notice sur Geer Van Velde dont il impose les œuvres à sa nouvelle amante Peggy Guggenheim à l'occasion de la création de sa galerie londonienne. Malgré l'échec relatif de l'exposition (qui suit celle de Kandinsky), il obtient de Peggy une bourse d'un an pour son ami. James Knowlson avance même que « si Beckett a longtemps gardé des liens étroits avec Peggy, c'est d'abord et avant tout parce qu'elle était susceptible de donner un sérieux coup de pouce à ses amis artistes, à commencer par Geer Van Velde. » (in Beckett p. 474) Enigmatique, la petite note que Beckett rédige alors à la demande de Peggy contient déjà en germe la pensée du dramaturge : « Believes painting should mind it on business, i.e. colours. i.e no more say Picasso than Fabritius, Vermeer. Or inversely.  » (« Pense que la peinture devrait se mêler de ses propres affaires, c'est - à - dire la couleur, c'est - à - dire pas plus de Picasso que de Fabritus ou Vermeer. Et inversement. »)   Plus lents à croître, son amitié pour Bram et son intérêt pour sa peinture modifient peu à peu le regard de Beckett sur la peinture de Geer et lorsque, dix ans après sa première rencontre avec les frères, il écrit Le Monde et le Pantalon, Beckett met à jour une dualité symbolisée par ce titre tiré d'une anecdote placée en exergue de l'article. Le monde, c'est l'œuvre « imparfaite » de Dieu créé en six jours à laquelle le tailleur oppose la perfection de son pantalon achevé en six mois. La relation entre cette anecdote et les frères Van Velde est peut - être à chercher dans le second essai que Beckett leur consacre en 1948, Peintres de l'empêchement (Derrière le miroir n° 11/12) : « L'un d'eux dira : Je ne peux voir l'objet, pour le représenter, parce qu'il est ce qu'il est. L'autre : je ne peux voir l'objet, pour le représenter, parce que je suis ce que je suis. Il y a toujours ces deux sortes d'empêchement, l'empêchement - objet et l'empêchement - œil. [...] Geer Van Velde est un artiste de la première sorte [...], Bram Van Velde de la seconde. ». Résistance de l'objet ou impuissance de l'artiste, cette fable, « véritable noyau narratif premier en forme de kôan zen » (P. Vilar), se retrouvera ensuite dispersée dans l'ensemble de l'œuvre de Beckett et occupera plus particulièrement une place centrale dans Fin de Partie, dont Roger Blin, note par ailleurs la similitude avec l'œuvre de Geer : « Il était ami à cette époque des frères Geer et Bram van Velde, hollandais et peintres tous deux. Geer était un peintre dans la lignée de Mondrian. J'ai le sentiment que Beckett voyait Fin de partie comme un tableau de Mondrian, avec des cloisons très nettes, des séparations géométriques, de la géométrie musicale. » (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    L'affinité grandissante de Beckett avec l'œuvre de Bram Van Velde et l'énergie qu'il dépense pour défendre son travail, notamment auprès de la galerie Maeght ou de son ami, l'historien d'art Georges Duthuit, se feront sans doute aux dépens de ses relations avec Geer. Cependant, malgré quelques malentendus, leur amitié ne sera jamais rompue, ni le dialogue silencieux mais agité que l'écrivain entretient avec l'œuvre du petit frère van Velde dont il possédait deux grandes toiles : « Le grand tableau de Geer me fait enfin des signes. Dommage qu'il ait si mal tourné. Mais ce n'est peut - être pas vrai. » (lettre à Georges Duthuit, mars 1950) « Geer dégage un grand courage. Des idées un peu tranchantes, mais peut - être seulement en apparence. Je l'ai toujours beaucoup estimé. Mais pas assez je crois. » (lettre à Mania Péron, août 1951) La mort de Geer Van Velde en 1977 affecte profondément Beckett et coïncide avec une période d'intense nostalgie durant laquelle l'écrivain décide de se livrer à un « grand ménage » dans sa demeure pour vivre entre des « murs gris comme le propriétaire ». Confiant ses états d'âme à son amie, la décoratrice de théâtre Jocelyn Herbert, Beckett témoigne de l'indéfectible affection qu'il porte au peintre depuis  quarante ans : « plus de toiles sous les yeux, y compris celle du grand Geer Van Velde derrière le piano ». Précieux témoignage de l'amitié de ces compagnons de route qui, depuis le premier roman de Beckett pour lequel ils vérifiaient ensemble la vraisemblance de la partie d'échecs opposant Murphy à M. Endon, ont affronté ensemble les grands enjeux de la modernité : « C'est qu'au fond, la peinture ne les intéresse pas. Ce qui les intéresse, c'est la condition humaine. Nous reviendrons là - dessus. » (Beckett à propos des frères Van Velde, in Le Monde et le Pantalon) Exemplaire parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        Cara Italia. Introduzione di Giuliano Gramigna.

      Montecatini, 1963. In-folio, pp. 119 a fogli sciolti con 12 acquaforti sciolte di Mario Calandri, Tono Zancanaro, Remo Wolf, Cesco Magnolato, Guido Chiti, Arnaldo Ciarrocchi, Paolo Manaresi, Franco Gentilini, Renato Bruscaglia, Domenico Cantatore, Giuseppe Negrisin e Luciano De Vita; 5 litografie sciolte di Ennio Morlotti, Ilario Rossi, Giuseppe Viviani, Domenico Purificato e Renato Guttuso; 1 xilografia di Mario Delitala. Bross. su carta distinta verde con tit. al piatto, camicia trasparente, cofanetto edit. rigido. Lievi e sporadiche fioriture su alcune carte, ma splendido esemplare in barbe e ampi margini. Ammaccatura di poco conto all'astuccio. Contiene scritti di Mario Soldati, Alberto Arbasino, Filippo Sacchi, Mario Rigoni Stern, Giovanni Comisso, Vittorio G. Rossi, Giuseppe Raimondi, Nicola Lisi, Fabio Tombari, Piero Bargellini, Ercole Patti, Ignazio Silone, Michele Prisco, Raffaele Carrieri, Alfonso Gatto, Fortunato Seminara, Leonardo Sciascia e Giuseppe Dessì. La presente opera edita dalla "Montecatini" nel settantacinquesimo anniversario della fondazione, a cura del Servizio Stampa e Pubblicità, è stata tirata in cento esemplari numerati. La redazione è di Eros Bortolotti, l'impaginazione di Bob Noorda, la composizione e la stampa dei testi e delle acqueforti di Luigi Maestri, le litografie della Stamperia del Broletto. La carta è stata espressamente fabbricata dalla Cartiera Ventura. Il nostro esemplare è il n. 79.

      [Bookseller: Libreria La Fenice]
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        Methuen Handbook of Colour (Color)

      Methuen & Co. Ltd, 1963. Please note: This is a first edition copy from 1963. 224 pages. "... Covers the essentials of colour practice and includes an international dictionary of colours with British Standard equivalents. A universal ready - reference for all whose jobs or recreations involve colour, it now includes names of colours used by British paint manufacturers and colours traditionally associated with the printing ink industry, thus shedding light on the whole field of colour in art and science." - from dust jacket of a later edition (not included). Colour - finder card not included. Lightly used former corporate library copy with usual markings. A sound copy. Former Library Copy

      [Bookseller: Online Bookshop Jim and Mina Stachow]
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        I vangeli secondo Matteo Marco Luca Giovanni

      Editiones Officinae Bodoni, 1963. I vangeli di Matteo, Marco, Luca e Giovanni, nella traduzione italiana dal greco pubblicata nel 1961 a cura del Pontificio Istituto Biblico di Roma, accompagnati dalla riproduzione ad opera di Bruno Bramanti di 114 xilografie create nel 1945 da Bartolomeo di Giovanni per le 'Epistole et Evangelii et Lectioni vulgari in lingua toschana', uno dei più preziosi libri del Quattrocento, stampato a Firenze da Lorenzo de' Morgiani e Giovanni di Magonza. Frontespizio inciso da Reynolds Stone . 4to. pp. 350. Ottimo (Fine). Edizione originale di 250+25 es. numerati.

      [Bookseller: Studio Bibliografico Marini]
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        Porsche 904 Die komplette Dokumentation - Entwicklung, Evolution, Fahrzeughistorie [Gebundene Ausgabe] Tobias Aichele (Herausgeber), J?rgen Barth (Autor), Patrick Albinet (Autor), Bernhard Weigel (Autor) Heel Der 904 wurde 1963 als erster Porsche mit Kunststoffkarosserie pr?sentiert und unter dem ab 1964 geltenden neuen GT - Reglement zu einem der erfolgreichsten Rennsportfahrzeugen der Zuffenhausener. Optik, Technik und ihre zahllosen Siege auf den Rennstrecken der Welt machen die rund 120 hergestellten Fahrzeuge heute zu begehrten und extrem teuren Klassikern. Grund genug f?r J?rgen Barth, als Le - Mans - Gewinner und Porsche - Kundensport - Koordinator, ?ber jeden einzelnen 904 eine faszinierende Dokumentation vorzulegen. F?r Porsche - Enthusiasten eine begeisternde Fundgrube von h?chster marken - und motorsporthistorischer Bedeutung. J?rgen Barth fuhr Klassiker wie LeMans. Er betreut bei Porsche die Cup - Rennsportfahrzeuge der Kundenteams. Es geht in diesem Buch nat?rlich ausschlie?lich um den sehr seltenen Porsche - Sportwagen Typ 904. Es ist vor allem f?r jene Porsche - Fans die bereits eine gewisse Vorkenntnis von diesem Wagen haben. Die Kapitel sind gegliedert in Entwicklung des Wagens, Produktion, Verbesserungen, Rennerfolge und dem sch?nsten Teil von allen: S?mtliche Geschichten (Besitzer, Unf?lle etc.) der einzelnen Fahrzeuge sind aufgef?hrt (was auch der Hauptteil des Buches ist). Es werden ziemlich viele Insider - Informationen der Entwickler und Testfahrer von der Firma Porsche hier ver?ffentlicht - kurzum ein Muss f?r einen Porsche (904) - Fan. Der Porsche 904 war der erste Porsche mit Kunststoffkarosserie und vielleicht auch der formsch?nste. Jetzt haben die drei Autoren die wohl definitive Geschichte des Klassikers vorgelegt. Auf 300 Seiten findet der Leser nicht nur die komplette Geschichte des Typs sondern auch detailliert die Renneins?tze dieses Modells und die (illustrierte) Historie jedes einzelnen Wagens. Technik Fahrzeuge Auto Motor Porsche 904 ISBN - 10 3 - 89880 - 115 - 2 / 3898801152 ISBN - 13 978 - 3 - 89880 - 115 - 7 / 9783898801157

      Heel, 1963. Porsche 904 GT Karosserie Motorsport Rennsport Sportwagen Cup LeMans Rennsportfahrzeuge Technik Fahrzeuge Auto Motor Der 904 wurde 1963 als erster Porsche mit Kunststoffkarosserie pr?sentiert und unter dem ab 1964 geltenden neuen GT - Reglement zu einem der erfolgreichsten Rennsportfahrzeugen der Zuffenhausener. Optik, Technik und ihre zahllosen Siege auf den Rennstrecken der Welt machen die rund 120 hergestellten Fahrzeuge heute zu begehrten und extrem teuren Klassikern. Grund genug f?r J?rgen Barth, als Le - Mans - Gewinner und Porsche - Kundensport - Koordinator, ?ber jeden einzelnen 904 eine faszinierende Dokumentation vorzulegen. F?r Porsche - Enthusiasten eine begeisternde Fundgrube von h?chster marken - und motorsporthistorischer Bedeutung. J?rgen Barth fuhr Klassiker wie LeMans. Er betreut bei Porsche die Cup - Rennsportfahrzeuge der Kundenteams. Es geht in diesem Buch nat?rlich ausschlie?lich um den sehr seltenen Porsche - Sportwagen Typ 904. Es ist vor allem f?r jene Porsche - Fans die bereits eine gewisse Vorkenntnis von diesem Wagen haben. Die Kapitel sind gegliedert in Entwicklung des Wagens, Produktion, Verbesserungen, Rennerfolge und dem sch?nsten Teil von allen: S?mtliche Geschichten (Besitzer, Unf?lle etc.) der einzelnen Fahrzeuge sind aufgef?hrt (was auch der Hauptteil des Buches ist). Es werden ziemlich viele Insider - Informationen der Entwickler und Testfahrer von der Firma Porsche hier ver?ffentlicht - kurzum ein Muss f?r einen Porsche (904) - Fan. Der Porsche 904 war der erste Porsche mit Kunststoffkarosserie und vielleicht auch der formsch?nste. Jetzt haben die drei Autoren die wohl definitive Geschichte des Klassikers vorgelegt. Auf 300 Seiten findet der Leser nicht nur die komplette Geschichte des Typs sondern auch detailliert die Renneins?tze dieses Modells und die (illustrierte) Historie jedes einzelnen Wagens. ISBN - 10 3 - 89880 - 115 - 2 / 3898801152 ISBN - 13 978 - 3 - 89880 - 115 - 7 / 9783898801157 Technik Fahrzeuge Auto Motor Porsche 904

      [Bookseller: LLU-Bookservice]
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        The Fire Next Time

      New York: The Dial Press, 1963. First Edition. Hardcover. Like New. First edition. Signed by author on the title page in black ink. 120 pp. with author bio at rear. Cream cloth with red lettering. Near Fine in Near Fine dust jacket. Cloth a bit foxed. Jacket spine panel shows just a touch of sunning, very light wear at head and tail, unclipped ($3.50). The African-American novelist's powerful thoughts on race in the U.S. in two essays, an instant bestseller. Rarely found as a signed first printing, especially in such nice shape.

      [Bookseller: Burnside Rare Books]
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        NATIVITY '63, ROLF NELSON GALLERY - EXHIBIT FLYER, WITH TWO ORIGINAL PHOTOGRAPHS

      Los Angeles: Rolf Nelson Gallery, 1963. Original flyer, offset printed on both sides of a sigle sheet of card stock, measuring 7" x 10 7/8". Edge wear, pinholes to corners, with mild dustiness, a few creases and tiny stains; Very Good+. Offered together with two original black and white photographs: a) 9.25" x 7.25" photo of Wallace Berman, Robert Alexander, John Reed, and George Herms, Los Angeles, ca.1955. Pinholes to corners, surface wear and signs of handling, several creases, and some dustiness to verso; Very Good. b) 8.75" x 4 13/16" photo of three men, unidentified by us, though we surmise they were members of the Berman-Herms-Semina circle. Pinholes along upper edge, surface wear, handling and creasing to image, small stain to verso; Very Good.

      [Bookseller: Captain Ahab's Rare Books]
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        Regulation de la transcription DNA-RNA messager intervenant dans la biosynthese d'enzymes bacteriens et l'expression des fonctions virales du phage

      Comptes rendus hebdomadaires des seeances de l - First separate edition. Offprint. Comptes rendus hebdomadaires des se?ances de l'Acade?mie des sciences, 1963 Jan 14; 256: 805-7 A little creased else very good. * Quality, Value, Experience. [Attributes: First Edition]

      [Bookseller: Robinson Street Books, IOBA]
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        Barakei / Killed by Roses

      Tokyo: Shueisha, 1963. Top of the text block gently bumped, else near fine in illustrated cloth boards in near fine example of the publisher's plain acetate jacket; housed in the publisher's distinctive black printed slipcase, with light wear and rubbing, especially along the bottom edge. Nice copy of a book usually encountered in subpar condition/. First Edition. Folio. 43 black and white photographs, 4 color illustrations on vellum, 2 gatefolds. Number 91 of 1500 press-numbered copies, SIGNED by Hosoe and Mishima, and additionally INSCRIBED in silver marker by Hosoe to a collector. Arguably the most famous Japanese photobook of the 20th century. Writer Yukio Mishima is the model for Hosoe's lavish surreal production; his collaboration in the project pushed Hosoe's artistic talents to the brink, creating a final document that transcends the inherent limitations of book arts. (Parr / Badger, v1, 280-281; Roth 164-165; Open Book 194-195; Auer 422).

      [Bookseller: Harper's Books, Inc.]
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        Saint Genet Actor and Martyr

      George Braziller, New York 1963 - SIGNED by Jean-Paul Sartre on the half title. Sartre takes stock of Jean Genet, the great French novelist and playwright. Octavo, pp. [8], 625. Very Good, with some very toning to the pages and a bump to the lower right corner of the front board in a Very Good, unclipped dust jacket that has some chips along the edge, a small chip to the spine affecting the upper right portion of the "T" in Saint, and a 1 1/2-inch closed tear to the real panel near the spine fold. Some age-toning to the flaps and rear panel. SCARCE signed. Signed copies of Sartre's works in English are especially uncommon. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Le Bookiniste]
 14.   Check availability:     AbeBooks     Link/Print  


        IRAL. International Review of Applied Linguistics - Internationale Zeitschrift für Angewandte Linguistik in der Spracherziehung (KONVOLUT aus 30 Bänden) - Bd./ Vols. 1 (1963) - 30 (1992).

      Julius Groos Verlag 1963 - 1992. je Band/ Jg. ca. 400 Seiten; each vol. 400 pages; Gebundene Ausgabe/ bound; Die hier angebotenen Bände stammen aus einer teilaufgelösten wissenschaftlichen Bibliothek und tragen die entsprechenden Kennzeichnungen (Rückenschild, Instituts-Stempel...). Der Buchzustand ist ansonsten ordentlich und dem Alter entsprechend gut; KOMPLETTPREIS für 30 Bände; bei Versand ins Ausland erfragen Sie bitte zuerst die Versandkosten; Beiträge in DEUTSCHER, ENGLISCHER und teilweise in FRANZÖSISCHER Sprache! Versandkostenfreie Lieferung mfb

      [Bookseller: Petra Gros]
 15.   Check availability:     buchfreund.de     Link/Print  


        Derrière Le Miroir N°s 151-152. Miró. "Peintures sur cartons"

      Paris: Maeght. 1963 - Folio. With 26 original lithographs.Cramer, 102. Mourlot, 360-381. Very good with small tears on the spine.DLM édité en mai 1965 pour l'exposition de 32 peintures récentes sur cartons de MIRO à la Galerie Maeght. 24 pages non reliées. 26 pages de lithographies originales en couleurs dont 4 en double page. 1 lithographie originale en noir en double page. Tirage original [Attributes: Hard Cover]

      [Bookseller: Wittenborn Art Books]
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        V

      Lippincott, 1963 Fine first edition in a near fine dust jacket (slight discoloration mark on front flap), no mention of later printings on copyright page, first issue jacket with $5.95 price still on front flap and table of contents on back panel. Comes in a custom-made collector's slipcase.. 1st Edition. Hardcover. Fine/Near Fine.

      [Bookseller: Bookbid Rare Books]
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        Vitraux pour Jerusalem DELUXE Edition. with a drawing and a dedication in pen by Chagall.

      Vitraux pour Jerusalem DELUXE Edition. with a drawing and a dedication in pen by Chagall. Jean Leymarie Marc Chagall illustrator. Andre Sauret, Montecarlo 1963. One of 270 copies on Velin d'Arches. Comprising title page, text in French by Jean Leymarie, justification, table of contents and the complete set of seven lithographs (including three in colors), on Arches paper. Signed in pencil by the artist and the publisher on the justification page, with a drawing and a dedication from Chagall to Jean Leymarie. Loose as issued. Well preserved in the gray cloth slipcase, and Publisher's pictorial wrap in Arches paper. Condition: Fine. Ref: Cramer 55. PICTURES ONLINE or ON REQUEST

      [Bookseller: Marninart, Inc (ABAA-ILAB)]
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        Killed by Roses [SIGNED BY BOTH AUTHORS]

      (Shueisha), (Tokyo) 1963 - 1/1500. Folio. Original acetate jacket over decorative white and olive cloth, with blue and black lettering to spine. Book housed in its original photo-illustrated cardboard slipcase. Laid in, an explanatory booklet in English, French and German. Tissue-guarded limitation page signed in Japanese caligraphy by Eikoh Hosoe and Yukio Mishima."The [ten] photos that make up the body of the book are inky, sometimes high-contrast gravures that bleed right to the edge of the page and often extend across the entire open spread, giving extra impact to images that are already quite arresting. Even if the subject of Hosoe's photographs weren't the author Yukio Mishima, the book would be remarkable for its humid mix of eroticism and myth, queer kitsch and high art. But Mishima, Japan's most celebrated and controversial modern novelist, was also a brilliant provocateur and his presence here turns "Killed By Roses" into a charged collaboration between artists testing one another's limits? [Hosoe's] first meeting with Mishima, in September 1961, was at the writer's house. That first day, Mishima, already dressed only in a loincloth, ended up wrapped in a garden hose and standing on the marble mosaic zodiac on his lawn. The resulting surreal images are among the book's most famous; though Hosoe saw them as 'the destruction of a myth'? Mishima['s] ritual suicide in 1970 was seen as his final artistic act" (Andrew Roth: "The Book of 101 Books," page 164). One of 1500 copies, of which this is No. 1085.Cardboard slipcase heavily rubbed along edges. 8 1/2" closed tear at back cover of acetate jacket. Text and photographs clean and fine. Explanatory booklet in English, French and German. Slipcase in overall fair, dust-jacket in good- to good, binding and interior in very good condition. * Eikoh Hosoe (born in 1933) is a Japanese photographer and filmmaker who emerged in the experimental arts movement of post-World War II Japan. He is known for his psychologically charged images, often exploring subjects such as death, erotic obsession, and irrationality. Through his friendships and artistic collaborations he is linked with the writer Yukio Mishima and 1960s avant-garde artists such as the dancer Tatsumi Hijikata. ** Yukio Mishima, the pen name of Kimitake Hiraoka (1925-1970), was a Japanese author, poet, playwright, actor, and film director. Mishima is considered one of the most important Japanese authors of the 20th century. He was considered for the Nobel Prize in Literature in 1968 but the award went to his fellow countryman Yasunari Kawabata. His works include the novels "Confessions of a Mask" and "The Temple of the Golden Pavilion," and the autobiographical essay "Sun and Steel." His avant-garde work displayed a blending of modern and traditional aesthetics that broke cultural boundaries, with a focus on sexuality, death, and political change. Mishima was active as a nationalist and founded his own right-wing militia. He is remembered for his ritual suicide by seppuku after a failed coup d'état attempt, known as the "Mishima Incident". The Mishima Prize was established in 1988 to honor his life and works. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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        Mandate for Change, 1953-1956 The White House Years Signed

      New York: Doubleday and Company, 1963. First Ediiton. Hard Cover with Dust Jacket. Fine/About Fine. Signed by President Eisenhower on his Gettysburg bookplate, "For: Miss Verna L. Davis / With best wishes," typed onto bookplate (Presidential signature beneath). Bookplate of Miss Davis on FEP. A very handsome copy, with price of $6.95 on front flap of dust jacket.

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
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        The Collector

      Jonathan Cape, 1963 First edition, HC w/ Dustjacket. Comes in custom made slipcover. Book: Fine. Interior is tight and clean. Rare black boards with some markings and stains around textblock and fore edge, though the top edge is NOT stained. Very minimal and light markings and stains on pastedown and free endpaper on back. DJ: Fine. Bright and clean with some signs of aging on backcover of DJ.. 1st Edition. Hardcover. Fine/Fine.

      [Bookseller: Bookbid Rare Books]
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        La ville de Rochefort sur mer au Général de Gaulle Président de la République

      Album de 5 lithographies 19è par Charles Mercereau : in folio à l'italienne (50 x 37 cm) reliure demi - basane olive à coins, dos lisse à décor doré, doré trois tranches. (vers 1850) contrecollées. Album de lithographies offert au Général de Gaulle le 13 juin 1963 par Francis Gaury maire de Rochefort. Français relié DeCollection

      [Bookseller: Livres Anciens Lucas Philippe]
 22.   Check availability:     maremagnum.com     Link/Print  


        On Her Majesty's Secret Service

      London: Jonathan Cape, 1963. First Edition. Hard Cover with Dust Jacket. Fine/Fine. "First published 1963" on copyright page; the 11th James Bond thriller. 288 pp. A fine copy in a fine dust jacket.

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
 23.   Check availability:     Biblio     Link/Print  


        In Die Maschine Gemalt: Farbiges Alphabet MCMLXIII. 69 Farbige Original-Grafiken.

      Unpag. volume with short introductory essay by Grieshaber followed by 69 original color "textured" woodcuts by Grieshaber after the works of various artists, including Thomas Bayrle, Paul Christoph Böhmer, Klaus Burkhardt, Günter Bruno Fuchs, Peter Gorsen, Michael Gramberg, Angelika Grunenberg, Bernhard Jäger, Dietrich Kirsch, Rolk Kuhn, Wolfgang Mai, Alfred Pohl, Gerburg Rohde, Ali Schindehütte, Werner Schreib, Günther Stiller, Johannes Vennekamp, Arno Waldschmidt, Bernd Wallmann, and Walter Zimbrich, each group of prints accompanied by a short biography of the artist. Sml. 4to. Illus. stiff wrpps., some slight soiling and age-darkening. N.p. (Stierstadt im Taunus (Verlag Eremiten-Presse) 1963. From a limited edition of 174 copies.

      [Bookseller: F.A. Bernett Books]
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        Rêverie de nouvel an

      - Les Centraux Bibliophiles 1963. In-4 en feuilles à feuilles sous double emboitage. 90 pages. 13 Lithographies originalesen couleurs de Michel TERRASSE, dont la couverture, une sur double page, 5 in-texte et 6 titres calligraphiés. Tirage limité à 140 exemplaires numérotés sur Vélin blanc de Rives. Celui-ci un des 20 exemplaires avec Suite sur Papier Japon Nacré. Joint avec, le menu du diner du 1° juillet 1963 des Centraux Bibliophiles au Polo de Bagatelle et l'allocution imprimée de Jacques FOUGEROLLE, Président de la Société des Centraux BIbliophiles présentant l'ouvrage à ce même diner. Quelques rousseurs sur la chemise de la suite et sur le menu. Bel exemplaire.

      [Bookseller: LIBRAIRIE GIL-ARTGIL SARL]
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        A Clockwork Orange

      W.W. Norton & Company, 1963. Hardcover. Near Fine/Very Good. W.W. Norton & Company, New York 1963. First American Edition / First Printing. Stated First American Edition, no additional printings. Cloth boards. Book Condition: Near Fine, clean boards, tight spine. Light spots at the endpaper, name at the endpaper. Dust Jacket Condition: Very Good+, shelf wear, light spots. Tear at the foot of the jacket spine. In a new mylar cover.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
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        Saint Genet Actor and Martyr

      New York: George Braziller, 1963. First American Edition, 1st Printing. SIGNED by Jean-Paul Sartre on the half title. Sartre takes stock of Jean Genet, the great French novelist and playwright. Octavo, pp. [8], 625. Very Good, with some very toning to the pages and a bump to the lower right corner of the front board in a Very Good, unclipped dust jacket that has some chips along the edge, a small chip to the spine affecting the upper right portion of the "T" in Saint, and a 1 1/2-inch closed tear to the real panel near the spine fold. Some age-toning to the flaps and rear panel. SCARCE signed. Signed copies of Sartre's works in English are especially uncommon.

      [Bookseller: Le Bookiniste]
 27.   Check availability:     IOBABooks     Link/Print  


        Originalfotografie m. Unterschrift, 18. April 1963.

      1963 - 30x21 cm. (ordentl. Zustand). Paul Hindemith (* 16. November 1895 in Hanau; + 28. Dezember 1963 in Frankfurt am Main), deutscher Komponist der Moderne. Hindemith-Porträt fotografiert von Ben Spiegel. Hindemith

      [Bookseller: Aegis Buch- und Kunstantiquariat]
 28.   Check availability:     ZVAB     Link/Print  


        [Humorous Self Portrait] [Pencil Sketch Signed]

      no place: Sendak, no date (circa 1963). by the artist-author. Very Good +. 8vo (6.5" x 9"), pencil sketch on translucent drawing paper signed by the famous author-and-illustrator of children's books. One horizontal fold at bottom of self portrait. Signed & EXCEEDINGLY RARE humorous self portrait--head & hat to foot--of Maurice Sendak drawn lightly in pencil on tracing paper (presumably a "rough") and signed lightly but fully. He depicts himself looking and smiling at the viewer in a "Where the Wild Things Are" style. The artist-illustrator's hat has paper tags (suggesting those in Tenniel's famous drawing in Alice of the Mad Hatter) reading "Fun! Ha! Ha!" written on them, along with "Ho! He!" in lozenges indicating joyous speech. (Based upon other pieces by Sendak, his use of "Ha! Ha!" echoes his happy mood after the enormous success of "Where the Wild Things Are.") Much Rarer than Sendak's book illustrations!

      [Bookseller: Borg Antiquarian]
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        Teatr. (Teatp). 1963 12 issues

      Moscow (Moskva): Iskusstvo, 1963. 4to. Original wraps. 12 issues complete for the year. Later issues ISSN 0131-6885 1960--1964 -- ( ) « » -- , , . 1937 « ». 1941 1945, 1995, 1998--1999, 2009--2010. , 1990- ( 1996 1997 ). 2010 1 2 . 1945--1953 , 1954--1990

      [Bookseller: Alan Wofsy Fine Arts]
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        Twentysix Gasoline Stations.

      [Los Angeles]: Self-published, 1963 Paperback SIGNED. Third edition, 1969. Fine paperback original in the publisher's Near Fine glassine wrapper with light wear/tiny chips along the top edge. A very nice copy. Ed Ruscha's first book--a seminal artist's book and one of the most influential conceptual art works--features photographs of twenty-six gas stations with a caption stating the company name and location. The images were taken along Route 66 and are sequenced starting in Los Angeles, where Ruscha lived, to Oklahoma City, where he grew up. The final image, of a station in Groom, TX, marks the beginning of the return journey. "The first book came out of a play with words. The title came before I even thought about the pictures." Photographs and design by Ed Ruscha. SIGNED BY RUSCHA on the dedication page; no inscription. From an unnumbered edition limited to 3,000 copies. Unpaginated [48 pages]; 26 b&w illustrations; 5.5 x 7-1/8 inches. Reference: Parr & Badger, Photobook Vol. II, p.140; Engberg, Edward Ruscha Editions 1959-1999, B1; Hasselblad Center, Open Book, p.198-201; Auer, 802 Photo Books, p.427; Castleman, A Century of Artists Books, p.167. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX.

      [Bookseller: A&D Books]
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        The Spy Who Came In From the Cold.

      London: Victor Gollancz Ltd,, 1963. Octavo. Original blue cloth, gilt lettered spine. With the dust jacket. Some minor fading to foot of boards, a few spots to edge of text block. An excellent copy in the bright jacket with a couple of spots to rear panel. First edition, first impression of Le Carré's third book. The definitive Cold War novel, it won Le Carré the 1964 Somerset Maugham Award and secured his reputation as a master of the spy thriller.

      [Bookseller: Peter Harrington]
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        Black Spring

      Grove Press, 1963 A fine first US printing inscribed and dated by the author, Henry Miller, in a very good dust jacket. First printing of Grove Press hardcover edition. Black quarter-cloth, gray/green marbled paper boards, gilt spine lettering, gilt front cover facsimile author signature, black top-stain, cream endpapers. Dust jacket price 5.00. INSCRIBED by MILLER on the half-title page. Housed in a custom-made collector?s slipcase. "Written during the same period as "Tropic of Cancer and Tropic of Capricorn", and banned in the English-speaking world upon its publication in Paris in 1936, "Black Spring" is one of Miller's finest achievements, and arguably his most distinguished book from a stylistic point of view. It consists of a number of linked episodes describing some of the crucial years in his personal saga, from recollections of his childhood in Brooklyn to his time in Paris. Imbued with the spirit of Miller's life experience, "Black Spring" is a linguistic tour de force which brings together the American author's greatest merits." "In the second book of Miller's first trilogy, 'Black Spring', Miller abandons the novelistic pretense of telling any single story and instead creates a kind of collage of sketches, portraits, vignettes, essays, and poems-in-prose that once again combine to reveal the author in all his prodigious originality. This is the book, if the uninitiated reader can suspend the desire for conventional narrative and surrender to the spell of Miller's voice, that may be the best one-volume introduction to the author's work, as it represents multiple aspects of his literary persona. Perhaps the most marvelously disorienting section of Black Spring is "Into the Night Life . . . A Coney Island of the Mind," a 30-page dreamlike prose fantasia whose wild inventiveness, richness of imagination, and gorgeous sentences are breathtaking. Here is Miller cut loose beyond the stench of rotten circumstance and the arbitrary limits of "making sense" into a realm of ecstatic revelation, the writer as clown working the high wire without a net, performing for nothing so much as his own delight. The joy with which this acrobatic prose is infused is dangerously contagious. I say dangerous because, attempted with less virtuosity, this kind of writing, liberating as it may feel, is likely to result in an utterly unreadable mess. But why not, Miller might answer, make a mess? Life itself is a mess, and isn't art obliged to be faithful to life? " - Stephen Kessler.. Inscribed by Author(s). 1st Edition. Hardcover. Fine/Very Good.

      [Bookseller: Bookbid Rare Books]
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        1963 VON RYAN'S EXPRESS DRAFT SCREENPLAY - DARRYL ZANUCK'S COPY w/ MANY NOTES & EDITS Plus 2 LETTERS from ZANUCK re: BAD SCRIPT, NEEDS MY HELP

      TWENTIETH CENTURY FOX 1963 - VON RYAN'S EXPRESS - FIRST DRAFT SCREENPLAY - DARRYL ZANUCK'S PERSONAL COPY with HIS NOTES and EDITS THROUGHOUT, plus TWO LONG, RELEVANT LETTERS from DARRYL ZANUCK to his son RICHARD ZANUCK regarding his many concerns about the SCRIPT. Darryl Zanuck's large initials are on the front cover. Bound in blue paper covers with the Twentieth Century Fox Film logo and name at the bottom of the front cover, and with "Von Ryan's Express", "July 18, 1963", and "First Draft Screenplay", all printed on the front cover. The spine covering is split and tattered, but the printed: "Von Ryan's Express - July 18, 1963" is still legible. The title page has the printed information: "Von Ryan's Express / Screenplay by David Westheimer and Saul David / Based on the Novel by David Westheimer / First Draft Screenplay / July 18, 1963". Printed on light-green tinted paper, with many blue revision pages dated 7/23/63, 7/24/63 and 7/31/63. Zanuck's edit marks and notes are found here and there on both the light-green pages and on the blue revision pages. 172 pages, plus a few additional revision pages (e.g. "141" followed by "141A"). Pages are printed on 8.5x11" paper, printed on one side only. The covers are somewhat larger, overhanging the inner pages by 1/2" at the front edge and 1/4" at the top and bottom edges. The screenplay is three hole punched and bound with three brass brads. Darryl Zanuck was head of Twentieth Century Fox, the studio producing Von Ryan's Express. ZANUCK HATED THE SCRIPT as it stood in this first draft. His numerous notes on the inside front cover, title page, and first page of the screenplay are full of comments such as: "Basic plot was exciting, original - but it is now told devoid of characters or logic or humor." Zanuck also made various notes, marks, suggestions and edits here and there throughout the rest of the script, but his most extensive comments are on the first few pages. This FIRST DRAFT has RYAN staying alive at the end of the film. In the final version RYAN DIES. There are MANY other changes between this draft and the final version. Neither of the writers of this first draft are listed as writers on the final script, though David Westheimer is still credited for writing the novel. PLEASE NOTE: ALSO INCLUDED ARE TWO LONG, IMPORTANT, RELATED LETTERS BY DARRYL ZANUCK (Head of Twentieth-Century Fox Corporation) TO HIS SON, RICHARD ZANUCK (who he made head of film production). The letters are both carbon copies (presumably Zanuck's copies) on onion skin paper, typed by his Secretary. The letters are dated August 13 and August 23, 1963. These carbon copies of the sent letters are not signed. In the first letter, Darryl Zanuck is VERY upset about the quality of the screenplay; and by default he is upset with his son, the Studio's head of Production, for allowing the screenplay to be so bad. The letter is 7 pages long. "What started like a marvellous and original adventure has become in screenplay an amateurish delivery of hokum melodrama with obvious characters and embarrassing attempts at humor." "I have detailed notes on an entirely new opening and on innumerable changes." In the second letter, dated August 23, D. Zanuck details the changes that he thinks will improve the film. The letter is 14 pages long. CONDITION: The SCREENPLAY covers are tattered along the edges where they overhang the inner pages, tattered at the spine, have some creases, are toned, and have a coffee cup ring stain (probably Zanuck's cup!). The inner pages are all in VERY GOOD condition, some corner creases, some edge toning, overall still bright and clean. THE TYPED CARBON LETTERS have some stiff creases, toning to the margins, paper clip marks, and signs of general handling, but are still bright and clear. Together, this first draft screenplay and associated letters show the Zanucks, father and son, at loggerheads. Was this the beginning of what ended with Richard Zanuck taking over the studio and kicking his father out in 1969? [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Blank Verso Books]
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        A Wrinkle in Time

      Constable 1963 - 1963. 182 pages. Red boards with cream pictorial dust jacket. A couple of foxing marks to the title page, but the rest of the pages are tightly bound bright pages with light tanning and foxing to text block edge and endpapers. Moderate tanning to the ffep. Area of light foxing to the top 2cm of the front and back boards. Light edge wear with light corner bumping. Light chipping, rubbing, foxing, tearing and tanning to the dust jacket spine and its extremities. The dust jacket is unclipped. [Attributes: Hard Cover]

      [Bookseller: World of Rare Books]
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        A Wrinkle In Time

      Constable Young Books. Hardcover. Scarce book with DJ. Light wear to boards with two small pieces of tape to the rear edges. Light tape mark to paste down and rear end paper. Content is clean with front end paper missing & small light stains to a few pages. Complete Good+ DJ with slight creasing to edges and line tape residue mark to rear flap. Ex County library with sticker to front paste down and small stamp to last text page. . Good. 1963.

      [Bookseller: Infinitebooks]
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        Novellen um Claudia : Roman.

      Reinbek b. Hamburg : Rowohlt, 1963 - Taschenbuch in gutem Zustand. Altersbedingt sind die Seiten angegilbt. Leichte Gebrauchsspuren. ek56/ror/541 Sprache: Deutsch Gewicht in Gramm: 400 [Attributes: Soft Cover]

      [Bookseller: Versandantiquariat Olaf Roehder]
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        Planet of the Apes

      The Vanguard Press, 1963 Fine in a near fine dust jacket. First U.S. Edition, and the First Edition in English. Translated by Xan Fielding. Original price of $4.50 printed on the front flap of the dust jacket. Jacket has slight rubbing and very slight soiling, but is otherwise intact and not creased. A very nice copy. Housed in a custom-made collector's slipcase.. 1st Edition. Hardcover. Fine/Near Fine.

      [Bookseller: Bookbid Rare Books]
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        Die Dorfkirche. Radierung.

      2. Hälfte 17. Jahrhundert. - Mit der Nr. 5. Ausgezeichneter, malerischer Druck auf festem Bütten. Mit gleichmäßigem Rändchen um die volle Plattenkante. Bartsch 11. Blatt 5 aus einer Folge mit Landschaften. - Insgesamt nicht störend gebräunt bzw. braunfleckig. Ausgeschiedene Doublette der Kunsthalle zu Hamburg, verso mit Stempel (nicht bei Lugt) und handschriftlicher Vermerk "Dubl. 368 K. / ausgeschieden aus der Kunsthalle 1963". Sprache: Deutsch Gewicht in Gramm: 2100 9 x 14 cm (Einfassungslinie). Papier: 9,8 x 14,6 cm.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        Joan Miro: Trace sur l'Eau, Suite d'Aquarelles

      Paris: Maeght, 1963 Paperback First edition. Near Fine paperback with light crimping to the tips and perhaps a touch of soiling. A very nice copy. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX. A lovely volume reproducing a suite of 14 of watercolors by Joan Miro (1893-1983.) Each is an original tipped-in color lithograph on Marais onion skin paper. The dust jacket is an original lithograph on Rives wove; the image covers the front, back, spine and the four folded flaps. The title page is preceded by two semi-translucent vellum sheets printed with design elements derived from the cover image. From an unnumbered edition limited to 900 copies. 44 pages; 16 color and b&w illustrations; 14 x 11.5 inches. See: Cramer, Miro The Illustrated Books, no. 82, p.226-227; Maeght Editeur (1972-1973), p.60-61.

      [Bookseller: A&D Books]
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        The Fire Next Time

      New York: The Dial Press, 1963. First Edition. Hardcover. Like New. First edition. Signed by author on the title page in black ink. 120 pp. with author bio at rear. Cream cloth with red lettering. Near Fine in Near Fine dust jacket. Cloth a bit foxed. Jacket spine panel shows just a touch of sunning, very light wear at head and tail, unclipped ($3.50). The African-American novelist's powerful thoughts on race in the U.S. in two essays, an instant bestseller. Rarely found as a signed first printing, especially in such nice shape.

      [Bookseller: Burnside Rare Books]
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        The Bender / A Sad Comedy (SIGNED)

      William Morrow & Co., New York 1963 - First edition indicated by the lack of any statement of edition to copyright page, as per the publisher's 1947 and 1976 statements. Thus, the first American edition, first printing, 1963. Inscribed "To Toby" and signed by the author (full name with middle initial) to title page, apparently in pencil. Signed copies somewhat scarce. The unclipped dust jacket in lovely with only a few small spots of foxing to front flap. The book will close its own text block and thus would usually grade "very good," but shows brown nitrate tape ghosts to endpapers and outside of boards, where some earlier dust jacket protector was once taped down. There are NO signs of library attachments, stampings, or other degradations. Earlier novel by the author of "Jewel in the Crown" and the rest of the Raj Quartet. A droll comedy. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Cat's Curiosities]
 42.   Check availability:     AbeBooks     Link/Print  


        Annual New York Avant Garde Festival [title varies]. Complete set of 19 vintage posters, 1963-1980, 13 of them signed by Jim McWilliams

      - Between 1963 and 1980 the cellist and performance artist Charlotte Moorman (known mostly for her work with Nam June Paik) organized fifteen increasingly elaborate festivals featuring a wide variety of performances in various locations. The first three were at Judson Hall, a small recital hall across from Carnegie Hall (not to be confused with Judson Memorial Church in Greenwich Village). Number 4 was in Central Park. Number 5 took over a Staten Island ferry. Number 6 paraded down Central Park West. The 7th was on two islands in the East River, the 8th, at the Lexington Avenue Armory. Festival number 9 occupied a vintage riverboat docked at South Street Seaport. Number 10 took place in Penn Central boxcars on a track at Grand Central Station. Number 11 was at Shea Stadium; number 12, at Floyd Bennett Field at Gateway National Park in Brooklyn. The World Trade Center was the site of the 13th. Number 14 took place on the Charles River in Cambridge. The final number 15 was at the Passenger Ship Terminal on the Hudson River. **By number 11 (1974) the casts and acknowledgments had grown to the length of movie credits. Among the many hundreds of performers were John Cage, David Tudor, Allan Kaprow, Nam June Paik, Yoko Ono, Allen Ginsberg, Ray Johnson, Joseph Beuys, John Lennon, Max Neuhaus, Yvonne Rainer, Laurie Anderson, Ornette Coleman, Geoff Hendricks, Shirley Clarke, Bob Watts, James Tenney, Meredith Monk, and Al Hansen. **For each of these festivals Charlotte Moorman published a poster; there were two versions each of numbers 1, 2, 8, and 9, for a total of nineteen. She designed the simple first three herself; number four was a collaboration with Jim McWiliams; the remaining eleven were his work. Including two versions of nos. 8 and 9, those thirteen are each signed in silver or bronze ink by Jim McWilliams. Like the festivals, the posters became larger and increasingly elaborate, with images and text in layers. Number 11 is a riot of color featuring multiple aerial views of Shea Stadium. Number 13 shows the Twin Towers from different views. If number 11 was a riot of color, number 14 is full-fledged revolution. The sequence ends with a 20-color extravaganza. **A few complete sets remain available of approximately 50 that could be assembled from Charlotte Moorman's estate. Numbers 1, 2, 8, and 9 appear in two versions. Please write or call for a complete descriptive list. Some posters also are available singly. Nearly all of these posters that might appear on the current market were folded and mailed. All of these are flat, uncreased, and unmailed, except 2b, 3, and both number 8s. Those four were folded but are unmarked and have been stored flat. Sizes range from 8-1/2 x 5-1/2 inches to 36 x 24 inches. Sets will be shipped in tubes.

      [Bookseller: Laurence McGilvery, ABAA/ILAB]
 43.   Check availability:     AbeBooks     Link/Print  


        Run River.

      New York: Ivan Obolensky,, 1963. Octavo. Original green cloth, titles to spine in white. With the dust jacket. Spine a little darkened and with lettering slightly flaked. An excellent copy in a lightly rubbed jacket with tiny chips at extremities. First edition, first printing. Presentation copy inscribed by the author on the front free endpaper, "For Mary, with love & thanks for all good cheer & encouragement, Joan".

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


        Mary Poppins (Original screenplay for the 1964 film)

      Burbank, CA: Walt Disney Pictures, 1963. Shooting script for the 1964 film. Based loosely on the P.L. Travers book series. Julie Andrews is a magical nanny briefly employed by a dysfunctional Edwardian London family in this classic Disney feature that combines both live action and animated sequences. The film won five Academy Awards and was nominated for another seven, including Best Picture, making "Mary Poppins" the highest-awarded Walt Disney feature ever. Novelist Travers famously voiced her objections to the Disney adaptation of her character, particularly the animated scenes and musical numbers for which the film later gained so much acclaim. Blue studio wrappers, noted as SHOOTING SCRIPT on the front wrapper, marked production No. 2162, dated February 11, 1963, with credits for screenwriters Walsch and DaGradi, songwriters Sherman and Sherman, and novelist Travers. Title page present, dated February 11, 1963, noted as Shooting Script, with credits for screenwriters Walsch and DaGradi, songwriters Sherman and Sherman, and novelist Travers. 207 leaves, mimeograph, with blue and green revision pages throughout, dated variously between 5/14/63 and 6/26/63. Pages about Fine, wrapper Near Fine bound with three gold brads. National Film Registry.

      [Bookseller: Royal Books, Inc.]
 45.   Check availability:     Biblio     Link/Print  


        Collector, The

      London Jonathan Cape 1963 First Impression of the author's important first novel. 8vo: 283, [1]pp. Publisher's rust-colored cloth with a matching top stain and the spine stamped in gilt; in a price-clipped first issue (without reviews) dust jacket illustrated by Tom Adams. A Fine, bright example, probably unread, with a crimp to the head of the spine; in a just about Fine jacket, save for light soiling to the white back panel. This issue was preceeded by the very scarce black boards issue, and possibly an even scarcer grey boards one before that. It is however still hard to find, especially in this condition. Fine

      [Bookseller: Fine Editions Ltd.]
 46.   Check availability:     Direct From Bookseller     Link/Print  

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