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Displayed below are some selected recent viaLibri matches for books published in 1965

        Mein Ausflug in die Politik Seltsame Erlebnisse eines Sekretarius aus der Zeit Marco Polo's

      "Dieses ausserordentliche Buch wurde in einer Auflage von 300 Exemplaren gedruckt, ...". Dieses erhielt die Nummer 2! Auf der ersten Seite ist ein handschriftlicher Eintrag von 1965, wo das Buch gekauft wurde.

      [Bookseller: Säm]
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        Crucifix in a Deathhand

      New Orleans: Loujon Press, 1965. First Edition. Like New. Signed by Author. Self-wraps with orange wrap-around "belly band." First edition from a limited edition of 3,100. Signed by Bukowski on second to last page in magenta ink, dated 3-21-65. Very Near Fine with just a hint of toning to wraps, slightly bumped bottom corner, Fine belly band. A lovely copy of a key early Bukowski poetry collection.

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

        Pour un Malherbe

      First edition, one of 26 numbered copies on Hollande, tirage de tête.Small glued tears, not serious, to head and foot of the joints, a good copy. Gallimard Paris 1965 19,5x24,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        La Catalunya Vella. Notes de viatge. Amb 30 litografies de Jaume Pla, manuscrit original i una planxa litogràfica

      - Editorial Teide, Barcelona 1965. Enquadernació editorial. 191 pàgines, il.lustrat amb litografies de Jaume Pla. Exemplar XXIV d un tiratge de 25 exemplars sobre paper de fil guarro, signats per l autor i l il.lustrador, que contenen el manuscrit original íntegre d un capitol i una de les planxes litogràfiques. Molt bon estat de conservació. 26x19 cm. Ref: 3359 [LS/014851-3359]

      [Bookseller: Libreria Sanchez]
 4.   Check availability:     IberLibro     Link/Print  

        Pubblicita in Italia: 1965-1966

      - Signed by David Klein, famous advertising artist who created the iconic TWA posters!

      [Bookseller: The Cary Collection]
 5.   Check availability:     AbeBooks     Link/Print  

        XXXIV TAVOLE per L'INFERNO di DANTE. Commento di Dore Ashton.

      Edito da Edgardo Macorini. (Milano, 1965). - Scatola editoriale in Piena Tela formato cm. 46x46, titolo impresso in rosso e nero al piatto, contenente: un volume dello stesso formato, rilegato in mz. tela, piatti in cartone rigido fig. in rosso e nero, pp. 35(1) con il commento ed il colophon, e 34 cartelle in cartoncino avorio con le 34 tavole a colori, riprodotte in fac-simile nelle stesse dimensioni degli originali. I disegni furono eseguiti dall'autore tra il 1959 ed il 1960, impiegando sia tecniche non convenzionali quali la trasposizione fotografica ed il collage, sia tradizionali quali la tempera, l'acquerello, il pastello e le matite colorate. Edizione stampata in 250 esempl. numerati e FIRMATI dall'autore (ns. 102). [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Maria Calabrò Studio Bibliografico]
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        Terre d'amour et de feu

      First edition, one of 120 numbered copies on pur fil paper, the only large paper copies.A fine copy, the covers and spine not faded as usual. Plon Paris 1965 14,5x21cm broché

      [Bookseller: Librairie Le Feu Follet]
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        La centaine d'amour, sonnets

      1965. Club des amis du livre progressiste, Paris 1965, 14x20cm, reliure de l'éditeur. - Club des amis du livre progressiste, Paris 1965, 14x20cm, reliure de l'éditeur. - Edizione bilingue con la traduzione francese è stata fatta da Jean Marcenac e André Bonhomme. autografo firmato di Pablo Neruda, il feltro verde, Hubert Lesigne arricchito l'invio autografo firmato Jean Marcenac e un autografo firma Andre Bonhomme e anche sua moglie. Binding Editor con tela di canapa completa scintillante viola, schiena liscia, piatti leggermente scoloriti. [FRENCH VERSION FOLLOWS] Edition bilingue dont la traduction française a été établie par Jean Marcenac et André Bonhomme. Envoi autographe signé de Pablo Neruda, au feutre vert, à Hubert Lesigne enrichi d'un envoi autographe signé de Jean Marcenac et d'une signature autographe d'André Bonhomme au même et à sa femme. Reliure de l'éditeur en pleine toile moirée violette, dos lisse, plats marginalement décolorés.

      [Bookseller: Librairie Le Feu Follet]
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        The Smell of Fear

      London, Hamish Hamilton, 1965. FIRST EDITION. Short crime thrillers. 8vo. Contains 14 stories, including the first book publication of the Philip Marlowe story "The Pencil". There was no US equivalent edition. Publisher's cloth in dustwrapper designed by Youngman Carter. Quite simply a fine, crisp, untouched copy, as fresh as the day it was printed! Uncommon title. Bruccoli. A Raymond Chandler Bibliography.

      [Bookseller: Adrian Harrington]
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        Nuclei and Particles. An Introduction to Nuclear and Subnuclear Physics.

      W. A. Benjamin: New York & Amsterdam, 1965. First edition, second printing, of Segrè's major textbook on nuclear physics, the author's own copy heavily annotated by him throughout, with numerous manuscript additions/revisions in pencil and red and blue crayon. Some 145 pages carry annotations ranging from minor typographical corrections to major textual changes. Inserted in a 16-page printed pamphlet listing the corrections made to the first printing (1964), itself heavily annotated by the author. Segrè shared the Nobel Prize in Physics with Owen Chamberlain in 1959 for the discovery of the antiproton. "Emilio Segrè was born in Tivoli, Rome, on February 1st, 1905, as the son of Giuseppe Segrè, industrialist, and Amelia Treves. He went to school in Tivoli and Rome, and entered the University of Rome as a student of engineering in 1922. In 1927 he changed over to physics and took his doctor's degree in 1928 under Professor Enrico Fermi, the first one under the latter's sponsorship. "He served in the Italian Army in 1928 and 1929, and entered the University of Rome as assistant to Professor Corbino in 1929. In 1930 he had a Rockefeller Foundation Fellowship and worked with Professor Otto Stern at Hamburg, Germany, and Professor Pieter Zeeman at Amsterdam, Holland. In 1932 he returned to Italy and was appointed Assistant Professor at the University of Rome, working continuously with Professor Fermi and others. In 1936 he was appointed Director of the Physics Laboratory at the University of Palermo, where he remained until 1938. "In 1938 Professor Segrè came to Berkeley, California, first as a research associate in the Radiation Laboratory and later as a lecturer in the Physics Department. From 1943 to 1946 he was a group leader in the Los Alamos Laboratory of the Manhattan Project. In 1946 he returned to the University of California at Berkeley as a Professor of Physics. "The work of Professor Segrè has been mainly in atomic and nuclear physics. In the first field he worked in atomic spectroscopy, making contributions to the spectroscopy of forbidden lines and the study of the Zeeman effect. Except for a short interlude on molecular beams, all his work until 1934 was in atomic spectroscopy. In 1934 he started the work in nuclear physics by collaborating with Professor Fermi on neutron research. He participated in the discovery of slow neutrons and in the pioneer neutron work carried on in Rome 1934-1935. Later he was interested in radiochemistry and discovered together with Professor Perrier the element technetium, together with Corson and Mackenzie the element astatine, and together with Kennedy, Seaborg, and Wahl, plutonium-239 and its fission properties. "His other investigations in nuclear physics cover many subjects, e.g., isomerism, spontaneous fission, and lately high-energy physics. Here he, his associates and students have made contributions to the study of the interaction between nucleons and on the related polarization phenomena. In 1955 together with Chamberlain, Wiegand, and Ypsilantis he discovered the antiproton" ( "In his later years Segrè turned himself into a first-class historian of physics; his historical surveys, From X-Rays to Quarks: Modern Physicists and Their Discoveries and From Falling Bodies to Radio Waves: Classical Physicists and Their Discoveries and his biography Enrico Fermi: Physicist are widely used" ( Segrè remained at Berkeley until his death in 1989. Nuclei and Particles was highly successful: OCLC records 47 separate editions/printings. The third printing of the first edition appeared later in the same year as the present second printing. A second edition appeared in 1977, expanded to 986 pages. Large 8vo (254 x 178 mm), original publisher's cloth, the author's own copy, with his ink stamp on front free endpaper.

      [Bookseller: SOPHIA RARE BOOKS]
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        The Magic of a Line The Autobiography


      [Bookseller: Maggs Bros. Ltd.]
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        Pour un Malherbe

      First edition, one of 26 numbered copies on Hollande, tirage de tête.A very fine copy. Gallimard Paris 1965 19,5x24,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Literarni Noviny.Tydenik svazu Ceskoslovenskych spisovatelu.

      LN, Ceskoslovenskych 1965 - In-folio n( 465x310 mm ) plein skivertex brun.- n° 1 ( Ledna 1965 ) à n° 43 ( 23 Rijna 1965 ).- n° 45 ( 6 Listopadu 1965 ).- n° 46 ( 13 Listopadu 1965 ).- n° 48 ( 27 Listopadu 1965 ) à n° 51/52 ( 18 Prosince 1965 ).- Z Obsahu XIV Rocniku LN.- n° 1 ( 1 Ledna 1966 ) à n° 52 ( 24 Prosince 1966 ).- Z Obsahu LN XV rocniku.- n° 1 ( 7 Ledna 1967 ) à n° 51/52 ( 23 Prosince 1967.- LN Z obsahu XVI rocniku. republique Tcheque Tchequie.

      [Bookseller: Librairie FAUGUET]
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      - Paris, Éditions de L’Odeon & Éditions Andre Vial, 1965 - 1968. 11 forts volumes in-4 en reliure de l'éditeur en plein maroquin à grain, dos à 5 nerfs, titre et tomaison dorés, têtes dorées. Plats ornés d'entrelacs dorés et monogramme de Dostoïevski doré au centre. Illustrations en couleurs et à pleine page de Cardin-Bogratchew, Grau-Sala, Fontanarosa, Gaston Barret, Edy-Legrand et Michel Ciry. Tome 1 : Le joueur traduction de Sylvie Luneau. Tomes 2 et 3 : L'idiot traduction de G. et G. Arut. Tomes 4 et 5 : Crime et Châtiment traduction d'Elisabeth Guertiuk. Tome 6, 7 et 8 : Les frères Karamazov traduction d'Elisabeth Guertiuk. Tome 9 : L'éternel mari traduction de Yacha Zwizagora. Tome 10 et 11 : Les possédés, traduction d'Elisabeth Guertik.Tirage limité numéroté. 1 des 72 exemplaires du tirage de tête et portant le n° 8, sur Vélin de Hollande Van Gelder, contenant une suite en noir des illustrations sur Lana (en fin de chaque volume) et enrichi d'un original hors-texte en couleurs. Exemplaire bien complet de l'original en couleurs, signé.Dos des trois premiers volumes légèrement insolés, sinon exemplaire en parfait état. La librairie offre aux clients d'AbeBooks 15% de réduction sur l'ensemble de son catalogue. Prix d'origine : 1000 EUR. [Attributes: Signed Copy; Hard Cover]

 14.   Check availability:     ZVAB     Link/Print  

        The James Bond Dossier

      London: Jonathan Cape. 1965. FIRST EDITION. THE AUTHOR'S COPY, in a bespoke quarter leather binding of half red morocco, gilt, commissioned by the publisher for presentation to Amis. Obviously a unique copy, this was likely bound by Ian Fleming's own binder Arthur Last, the style matching closely the author's copies of Cape's original Bond novels now residing at the Lilly Library and researched by Gilbert while producing the forthcoming bibliography. Amis' presentation binding also features his initials tooled in gilt. A typed statement is included, noting this as being the only such copy produced for him, SIGNED in full by Amis. Owned in conjuction with Lucius Books of York. Amis' first venture into the world of James Bond. He also wrote the light-hearted 'Book of Bond' in 1965 and the first post-Fleming 007 novel 'Colonel Sun'. BMC No.1 p.4-13 'Fleming and Bond; Related Titles'. Gilbert, Jon; Ian Fleming: The Bibliography, page 592, see also Appendix A, page 634.

      [Bookseller: Adrian Harrington]
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        The Man With the Golden Gun.

      London: Jonathan Cape. 1965. First Issue, Second State, Binding A (in Excelin material) without gilt-stamped gun motif and stamped in Nuvap (gilt) to the spine. SIGNED BY ROGER MOORE with added 'Best wishes' and '007' motif. Octavo, pp.221. Black cloth-effect paper over boards, green endpapers, in pictorial dust-wrapper. Very fine indeed, in a custom-made leather clamshell. A truly stunning copy, with half-title page signed by Moore, who played James Bond in the 1974 film adaptation. One of just 23,203 copies in this binding from a print run of 81,890 copies. Gilbert A13a (1.2).

      [Bookseller: Adrian Harrington]
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        The James Bond Dossier

      London: Jonathan Cape. 1965. SIGNED FIRST EDITION. Pp.159. Publisher's black cloth-effect paper over boards with gilt titles to spine and blind-stamped bullet-holes to upper cover in the dust-wrapper based on the familiar 'trompe l'oeil' designs which decorated the Ian Fleming first editions. Near fine; a lightly handled copy with a little rubbing and toning. Inscribed to reviewer Michael Curtis, with full signature of the author. With a previous bookseller's catalogue description loosely inserted.Amis' first venture into the world of James Bond. He also wrote the light-hearted 'Book of Bond' in 1965 and the first post-Fleming 007 novel 'Colonel Sun'. BMC No.1 p.4-13 'Fleming and Bond; Related Titles'. Gilbert, Jon; Ian Fleming: The Bibliography, page 592, see also Appendix A, page 634.

      [Bookseller: Adrian Harrington]
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        The Man With the Golden Gun.

      London: Jonathan Cape. 1965, FIRST EDITION, FIRST ISSUE, SECOND STATE, BINDING D. Pp.221. Publisher's cloth-effect paper over boards with bronze lettering to the spine, plain covers, patterned green endpapers. In the original pictorial dust-jacket illustrated by Richard Chopping. Price clipped else a beautiful fine copy; remarkably fresh. A previously unrecorded binding; this is one of just over 5000 copies of the 82,000-strong first impression bound in the Fabroleen material -the vast majority were bound in Excelin. Uncommon. Gilbert A13a (1.5).

      [Bookseller: Adrian Harrington]
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        ImpPress Typebook: Being a Complete Showing of Typefaces, Borders, Dingbats, Miscellanea Available at the Aforementioned.

      (Houston, TX: ImpPress, 1965). Small octavo. (12)ff. One of 150 copies, signed by the artist and printer, Dugald Stermer. A quirky type specimen book printed on various colors of paper, in many colors of ink. With full-page illustrations, including a cartoonish frontispiece of a man with a printing press in the top of his head, as well as typographic ornaments and engravings that include the headings from 19th-century almanacs. The ImpPress Typebook is characterized by Stermer's sense of humor: Stermer writes in the colophon that this type sample book was "...primarily intended as a means by which the Prop is cutting down smoking. It is almost impossible to set type and smoke simultaneously." Although best known as a San Francisco-based illustrator, designer, and art director who worked for such influential magazines as Ramparts and Mother Jones, Dugald Stermer started the ImpPress while living in Houston, Texas during the 1960s. He became inspired to print after he was given a small printing press and some assorted type by his wife for Christmas. From the library of Ben and Bernarda Shahn, with a label laid in designed by their son, Jonathan Shahn. A small library label to front cover, else fine in black printed wrappers. A scarce book: no copies are recorded in OCLC.

      [Bookseller: Bromer Booksellers]
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      (Northampton), 1965. 5 x 6 1/4. 16 leaves printed rectos only. Marbled paper (by Peter Franck) over boards, title label on upper cover. Fine. No. 41 of 100 signed copies. Printed in a variety of colors on pre-WW II Amalfi (from Bruce Rogers) using Van Krimpen's Cancelleresca Bastarda in three sizes.A glorious little production -- the first of three books in which Baskin focused his extraordinary skills in selection and layout of type, ornament, and color; all framing select bons mots.

      [Bookseller: The Veatchs Arts of the Book]
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        First and Second Piatigorsky Cup

      Los Angeles: Ward Ritchie Press, 1965-68. 2 volumes: xix+240 pages with frontispiece, illustrations (including portraits) table, diagrams and index; xxxiii+288 pages with illustrations, table, diagrams and index. Royal octavo (9 1/4" x 6 1/4") volume one issued in red with silver lettering to spine and black and silver decorative cover; volume two issued in sea green with silver lettering to spine. Inscribed by Jacqueline Piatigorsky Laid in Jacqueline Piatigorsky: Patron, Player, Pioneer by John Donaldson. (Betts: 25-340; 25-388) First editions.Volume one annotated by Samuel Reshevsky and other participants. All 56 games, annotated, with an index of openings. Each competitor annotated the game he considered his best and Reshevsky the remainder. Volume two annotated by Jan H Donner, Tigran Petrosian, Robert Fischer, Lajos Portisch, Boris Ivkov, Samuel Reshevesky, Bent Larsen Minguel Najdorf, Wolfgang Unzicker. Introduction by Gregor Piatigorsky. All 90 games annotated with an index of openings.Jacqueline was born in Paris, France, to the famed Rothschild banking family. A nurse taught her to play chess at an early age, when Jacqueline was recovering from a childhood illness. In her 1988 memoir, Jump in the Waves, she wrote that her nurse, Miss Coque, told Jacqueline that: "…with a chess set, it is impossible to be bored." More than a salvation from dullness, the game soon became both a passion and a refuge to Jacqueline. Though she wrote of feeling neglected by her parents and oppressed by a nanny during her childhood, chess offered her an opportunity to forge her own identity independent of her famous family name. In 1937 Jacqueline married Gregor Piatigorsky, a world-renowned cellist. The two immigrated to the United States with their daughter Jephta at the outset of World War II, first settling in Elizabethtown, New York, where their son Joram was later born. Though she had not received any formal chess training, her desire to compete led her to participate in correspondence chess tournaments sponsored by Chess Review. After another series of moves, Jacqueline and her family settled in Los Angeles, California. There, Gregor joined the faculty of the music department at UCLA, while Jacqueline became further immersed in the world of chess. At an auction, she met International Master Herman Steiner, who after learning of her skill, encouraged her to compete in tournaments over the board. He was instrumental in the flourishing of her playing career on the national level, recommending that she be invited to the 1951 U.S. Women’s Chess Championship. After his death in 1955, Jacqueline took over the management of his chess club, the Hollywood Chess Group, and renamed it the Herman Steiner Chess Club in his honor. Jacqueline soon rose to the top of the field of women’s chess and participated in the U.S. Women’s Championships six times in the 1950s and 1960s. Her best result occurred in 1965, when she won second place behind Gisela Gresser. She also defeated her rival, Woman International Master Mona May Karff in such a captivating manner that the New York Timesprinted their game. Jacqueline took part in another historic first for women’s chess in 1957, representing the United States in the inaugural Women’s Chess Olympiad in Emmen, the Netherlands, with teammate Gisela Gresser. Jacqueline played on second board, and the team won a bronze medal in the historic competition. Later that same year, she took her first step in the arena of chess promotion, serving as the chairperson for the U.S. Women’s Chess Championship, which was held in Los Angeles and sponsored by the Herman Steiner Chess Club. During the mid-to-late 1960s, Jacqueline participated in tournaments less frequently. However, over the course of the same decade, she dedicated herself more fully to chess promotion, first co-sponsoring a match between former child prodigy Grandmaster (GM) Samuel Reshevsky and rising star GM Bobby Fischer. Also sponsored by the American Chess Foundation, the match was held in both New York and Los Angeles. The match ended prematurely over a disagreement over the start time for one of the games—Jacqueline had wanted a Sunday game to begin earlier both so that she could attend one of Gregor’s concerts and accommodate the travel needs of out-of-town audience members. Fischer declined to play at the earlier time, and the game was declared a forfeit. Fischer refused to play the remainder of the match, which was a disappointment to Jacqueline and the other tournament organizers. In the wake of this event, she formed a close friendship with Samuel Reshevsky, who became her coach. Despite her early setback, Jacqueline’s interest in chess promotion was not dampened, and she established the Piatigorsky Foundation, which had as its goal to boost chess culture in the United States. At the time, the idea of a philanthropic chess organization was so novel that the Internal Revenue Service denied the group’s first application for not-for-profit status. However, she persevered and the Piatigorsky Foundation became renowned for its support of American chess both on elite and local levels. The Foundation’s first and most famous venture was the organization of the 1963 Piatigorsky Cup tournament. This competition attracted the best American and international players. Jacqueline organized it at the urging of Gregor, who said that in the United States there was, "too much emphasis on physical sports and not enough on the intellectual…A country like ours has an obligation not to be second to anyone." However, it was Jacqueline’s attention to detail and persistence that made the event legendary. The competition was held again in 1966, and its success prompted the Los Angeles Times to name Jacqueline its "Woman of the Year." Piatigorsky Cup Tournaments:The 1963 and 1966 Piatigorsky Cup tournaments rank among the strongest chess competitions ever held on American soil. They are on a short list that includes New York 1924, New York 1927, Dallas 1957, and the 2013 Sinquefield Cup. Held during the Cold War, when tensions between the United States and the Soviet Union were high, the Piatigorsky Cups represented a triumph of diplomacy. Jacqueline and Gregor Piatigorsky faced a daunting task in trying to have Soviet players compete in both events, something that had happened only once before in 1954, when the Soviet Union and United States played a team match in New York. That the Piatigorskys succeeded was a testament to their hard work and persistence, and resulted in Tigran Petrosian competing in both events. This was the first time a reigning World Chess Champion had participated in an individual competition in the United States since Alexander Alekhine played in Pasadena, California, in 1932. Both the 1963 and 1966 tournaments were double round-robin competitions in which all participants played against each other twice. Jacqueline produced an elegant trophy for the events that featured a "love cup" designed by Tiffany & Co. as its centerpiece. The cup is flanked by two Régence-style chess pieces, while the base has plaques with spaces for the names of the winners. The 1963 event, held at the Ambassador Hotel in Los Angeles, California, included eight competitors from five different nations and offered a prize fund of $10,000. The two Soviet players, Tigran Petrosian and Paul Keres, triumphed over the rest of the field and shared the top prize. The exciting competition attracted a large audience. Bobby Fischer participated in the 1966 tournament, ensuring that the top American talent of the period was represented in the competition. It also meant that the field of ten players in the 1966 event contained one World Chess Champion (Petrosian) as well as two future ones (Bobby Fischer and Boris Spassky). Fischer had declined an invitation to the first Cup, still unhappy about his aborted 1961 match against Samuel Reshevsky, which Jacqueline had cosponsored. However, by 1966 the sore feelings had subsided, and his presence and play made this Cup an electrifying event. After a strong start followed by a disastrous performance mid-tournament, Fischer mounted an amazing comeback to tie with the tournament leader, Spassky, in the standings. Their game in the penultimate round attracted a record 900 spectators and served as a preview of the excitement the two would generate six years later in their epic 1972 World Chess Championship match in Reykjavik, Iceland. The two played to a hard-fought draw. Spassky then won his last game against Jan Hein Donner, who was at the bottom of the standings, while Fischer’s game against Petrosian ended in a draw. Spassky achieved a narrow victory over Fischer, winning $5000 from the $20,000 prize fund and a smaller version of the Piatigorsky Cup trophy. The Piatigorsky Cups were not only elite tournaments, but they also broke new ground in making chess competitions more spectator-friendly. The 1963 event followed traditions that had existed for decades, with wall boys moving the pieces on large demonstration boards for the audience. Periodically these same wall boys would manually adjust clocks mounted next to the demonstration boards, giving the audience a rough idea of how much time each player had used. This formula worked reasonably well, but Jacqueline, known for her attention to detail, wanted to improve this system for the second event. She aimed to ensure that everyone that attended the tournament would be able to see the action, even if they were seated in the back of the playing hall. To this end, she developed a projector system that would make the moves of each game clearly visible. By the time of the second tournament, held in Santa Monica, California, in 1966, she had designed and perfected the setup. This innovation, as well as her creation of electric wall-mounted clocks that kept precise measurements of each player’s time, turned out to be both novel and necessary in the second competition. The second Piatigorsky Cup consistently drew crowds of 600 to 700, peaking at 900 spectators near the end of the event.Condition:Both copies inscribed to Michael Jeffreys by Piatigorsky on front end papers. First Piatigorsky Cup with group picture of Jacqueline, child students and Jeffreys tipped to half title. Jefferys business card laid in. Along with the pamphlet by John Donaldson on the presentation of Jacqueline Piaqtigorsky at the World Chess Hall of Fame October 25, 2013 - April 18, 2014 else better than very good copies in near fine jackets.

      [Bookseller: The Book Collector ]
 21.   Check availability:     ABAA     Link/Print  

        A Way of Seeing

      Viking 1965 - LEVITT, HELEN, and AGEE, JAMES. A Way of Seeing, New York: Viking Press, 1965. Oblong octavo, first edition, pp. 78, full black cloth boards with white lettering on spine and upper board, gravures, text by Agee. Parr & Badger, V.1, pp. 252-53: "Levitt's street pictures of New York children in underprivileged areas . exemplify the shift from New Deal social documentation to a more personal and elliptical way of looking at life. . Levitt's photographs are beautiful -- major, underrated works." Roth, 101 Books, pp. 178-79: Agee's "photo-by-photo interpretations can be crushingly heavy-handed. Happily, Levitt's work easily escapes the text's abrasive grip, its buoyancy and grit intact." Also see Hasselblad, Open Book, pp. 214-15. Condition of this book: Near fine with jacket faintly worn at edges with tiny spots of foxing at rear flap; boards a bit sunned at edges. Leaves clean and tight, with toning at white edges, images fine. Preliminary leaf with publisher's note has half-inch-wide vertical blemish, apparently skid marks from a press roller or binding machinery. [Attributes: First Edition; Hard Cover]

      [Bookseller: Rarities etc.]
 22.   Check availability:     AbeBooks     Link/Print  


      Herbert Jenkins, London 1965 - Scarce. Signed by Moorcock on the front flyleaf, no inscription. Jacket design by J. Cawthorn. Red cloth, spine stamped white. 192 pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: Heartwood Rare Books]
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        The Painted Bird - Inscribed to an Editor Prior to the Publication Date

      Houghton Mifflin Company/Riverside Press Cambridge, 1965. First Edition (first printing). The first novel by the author of STEPS and BEING THERE, the story of a traumatized childhood that begins with the abandonment of a six-year-old boy in a remote Eastern European village during German occupation. Near Fine/Near Fine -- a bit of crimping at the head of the dust jacket spine and a small fold to the top right corner of the front jacket panel -- a very clean copy. Inscribed to an editor by Kosinski on the title page, as follows: "For Doris and Dan Catlin -- with affection, gratitude and admiration" and dated "New York October 14, 1965" -- one day prior to the book's publication date. Also, the top line on page 270 has been lined out by Kosinski -- a common practice for this book. AW. Signed by Author. 1st Edition. Hardcover. Near Fine/Dust Jacket Included.

      [Bookseller: Bill Leone, Bookseller ABAA]
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        Collection of Letters, Photographs, and Poetry from 18-Year-Old Marc Bolan

      1965 - An archive of items from the earliest part of the career of legendary British rock star Marc Bolan of T-Rex fame when he was only 18 and about to release his debut single on Decca Records in 1965. Included are two copies of the typed lyrics for his first single, "The Wizard"; two Autograph Notes Signed; five pages of typed poems stapled into a booklet; six 8" x 10" photographs taken by Fiona Adam, two of which show Bolan during his first recording session with producer Jim Economides; and a program for a Tyrannosaurus Rex tour two years later. All fine except for a small tear on the last page of the stapled poetry, a tack hole in one photo, and a couple annotations in red ink in the tour book.The collection comes from the archive of London *Sunday Times* music critic Derek Jewell, who while writing an article about Economides, was made aware of a young musician he was working with. A publicity letter dated 10 September 1965 sent to Jewell mentions Bolan and explains, "You will be hearing more from me concerning this boy, whom I feel has an appeal beyond the normal pop market." Quite an understatement.The first ANS is written on a white sheet that reads in full: "Derek thought you might like to see some poems. hope you like them. see you soon, sincerely Marc Bolan. P.S. words to the wizard on green paper. thanks." The second ANS is on a blue sheet: "Derek hope you like the pictures. first two are of the recording session. see you soon [arrow pointing down] Marc Bolan." Both signatures use the umlaut over the "o" in his last name, which was a new pseudonym created just a month before (and that some speculate is a contraction of the words "Bob Dylan"). As stated, the letters are accompanied by two green sheets with the typed lyrics to "The Wizard" (here titled "The Wizard in the Wood"), along with a stapled packet of five sheets of poetry titled *The Wizard, The Owl and The Big Black Cat*. Both the lyrics and poems have been trimmed to the same size, likely by Bolan, who has signed both in type: "Marc Bolan. '65."Two of the six photographs show Bolan in the recording session, one up close with him concentrating on something out of sight, and the other in discussion with producers and engineers. The remaining images include two of Bolan sitting on a leopard rug by a miniature roulette wheel and holding a black cat, along with two outside shots of him dressed in a black pea coat. Bolan looks surprisingly young in each with uncharacteristically short hair. Accompanying the letters and photographs is a press release for Bolan's first single with his name spelled "Mark Bowland" and corrected in black marker; a program for the Tyrannosaurus Rex tour "The Lion and the Unicorn" in the Oak Forests of Faun in 1969; as well as a file of press releases about Economides, along with the typescript of a profile of Bolan written by Jewell.An amazing archive capturing Marc Bolan at the start of his career as a solo performer, shortly before the creation of T-Rex made him a legend.

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        2 handgeschriebene signierte und datierte Briefe an Christian Grützmacher. je 1 Blatt.

      Berlin, 4. und 26. Oktober 1965 - 21 x 26 und 21 x 30 cm. 2 Blatt. In seiner typischen schwungvollen und fast gemalten Handschrift. Stöhrer schickt ein verlangte Titelseite an Grützmacher, offenbar mit geringem Erfolg. Am 26. Oktober schickt er ein neue Titelseite und einen Hinweis auf den Druck eines Buches oder einer Mappe einer von uns nicht nachweisbaren "Edition M. Mertens". - Faltspuren.

      [Bookseller: Daniel Thierstein]
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        Der gallische Krieg. Übers. von Georg Dorminger,

      München : Goldmann, 1965 - 180 S. : mit 1 Kt. , Exemplar antiquarisch gut erhalten, Seiten alters- sowie papierbedingt gebräunt, mit Gebrauchsspuren K14250 Sprache: Deutsch Gewicht in Gramm: 140 Ungekürzte Ausg. Goldmanns gelbe Taschenbücher , Bd. 406. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Buchhandel Daniel Viertel]
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        Imagination morte imaginez

      Edition originale, un des 50 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 562 autres B.F.K. de Rives.Précieux envoi autographe daté d'Octobre 1965 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise.Piqûres marginales sur le premier plat.  Les éditions de minuit Paris 1965 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Athenian Agora, 11 volumes. XI: Archaic and Archaistic Sculpture. XIII: The Neolithic and Bronze Ages. XIV: The Agora of Athens. XVI: Inscriptions: The Decrees. XIX: Inscriptions: Horoi, Poletai Records, Leases of Public Lands. XXI: Graffiti and Dipinti. XXIII: Attic Black-Figured Pottery. XXV: Ostraka. XXVI: The Greek Coins. XXVII: The East Side of the Agora. The Remains Beneath the Stoa of Attalos. XXX: Attic Red-Figured and White-Ground Pottery

      American School of Classical Studies at Athens. Princeton 1965 - Set of 11 volumes. American School of Classical Studies at Athens. Princeton, New Jersey, 1965-1997. Vol. XI (1965): Very Good. Sig. of previous owner present. Vol. XIII (1971): New. Cover has a few faint smudges otherwise very clean and unmarked. Vol. XIV (1972): Good. Ex- Library. No stickers externally, light fading of gilt on spine, lower right corner of cover has a tiny loss of cloth. ‘University of Manchester’ paper label on pastedown along with catalogue number and barcode sticker. Small ink stamp bearing name of school and catalog numbers present on post title page. Otherwise unmarked. Vol. XVI (1997): New. Stamped gilt school emblem on cover in addition to the gilt lettering on cover and spine. Vol. XIX (1991): New. Vol. XXI (1976): New. Vol. XXIII (1986): New. Very light scuffing to cover. Vol. XXV (1990): New. Vol. XXVI (1993): New. Upper right corner lightly bumped causing some of the first 30 pages to be lightly bent. Vol. XXVII (1995): New. Right lower corner bumped causing some internal creasing. Very faint rub mark above gilt lettering on cover. Vol. XXX (1997): Very Good. Two tiny smudges on cover otherwise a very clean, unmarked volume with no shelf wear. A fine set. [Attributes: First Edition; Hard Cover]

      [Bookseller: Meretseger Books]
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        Hommage fait à Marguerite Duras du Ravissement de Lol V. Stein

      First edition.Autograph inscription signed and dated by Jacques Lacan to monsieur and madame Claude Lefort, to whom he gives his best wishes for 1966.Covers slightly and marginally sunned but not seriously, one small tear to edge of lower cover, one other to foot of spine. In Cahiers Renaud-Barrault Paris Décembre 1965 14x19cm agrafé

      [Bookseller: Librairie Le Feu Follet]
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        Lire Le Capital. Tome 1

      First edition of which there were no large paper copies.Autograph inscription from Louis Althusser to Lydia Tournier.Spine very lightly sunned, not serious. François Maspéro Paris 1965 13,5x21,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        New Cinema Festival I at Filmmaker's Cinematheque Presents Rites of the Dreamweapon

      NY: Filmmaker's Cinematheque, [1965]. Original 18 x 8 inch placard printed in thick blue ink on blue stock. Two old creases from folding, some minor wear and a couple of small tears, else very good. A beautiful and uncommon piece of avant garde cinema history. Original placard for the multi day, multi media presentation of MacLise's Rites of the Dreamweapon staged during the firstweek of Jonas Mekas' New Cinema Festival [Expanded Cinema Festival]. In November and December of 1965 Mekas presented an extensive series of multimedia productions including artists such as Angus MacLise, Jack Smith, and Nam June Paik among others. It's possible, but not confirmed that The Velvet Underground took part in the events. [ White Light/ White Heat: the Velvet Underground Day by Day page 58] The program for the first week consisted of the following: 'Rites of the Dreamweapon II' [MacLise]; 'The Stagger Mass' [Jerry Joffen]; 'The Mysteries of the Essence Chamber' [MacLise]; Epiphany of Light [Don Snyder]; 'Rehearsal For the Destruction of Atlantis' [Jack Smith]; 'Rites of the Nadir' [John Vacarro]. Though not noted here, on the evening of November tenth saw the screening of Piero Heliczer's 'The Last Rites'.

      [Bookseller: Kenneth Mallory, ABAA]
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        Rites of the Dreamweapon: A Massed Performance Immense Spectacle Dark Rituals of the N.Y. Underground Musicians, Dancers, Stiltwalkers Troupe of Lunar Companions May 28-10 P.M.h

      NY: [Angus MacLise], [1965]. 9.5 x 12 in (24.13 x 30.48 cm). Some toning to paper, light crease to middle from folding, else very good. Original flyer for a collaborative artistic venture from then couple Angus MacLise and Frances Stillman, this promotes the event hosted by the Film-Makers' Cinematheque on May 28, 1965. 'Rites of the Dreamweapon' was a seven-part 'Manifestation of the Presence' coordinated by Angus MacLise which made its festival debut in November of the same year at Jonas Mekas' New Cinema Festival and its more than likely the Velvet Underground was a participant in this performance.

      [Bookseller: Kenneth Mallory, ABAA]
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        Love Poems (Tentative Title)

      New York: Tibor de Nagy Editions, 1965. First edition, one of 500 copies. Some discoloration to wrappers at edges and spine, marginal stain on penultimate leaf. Square 8vo. 30pp. Original printed wrappers. The New York poet Paul Violi's copy. Inscribed in an unknown hand "Happy Birthday" on the title, and in another hand "passed on to Paul Violi Christmas 1970. A. A."

      [Bookseller: Riverrun Books & Manuscripts]
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        Over Sea, Under Stone

      Cape, 1965 A first edition, first printing published by Cape in 1965. A fine book in near fine unclipped wrapper a little faded on the spine. Superb[removed][removed]

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


      Otto Preminger Films / Art Krebs Studio 1965 - Vintage original 35 x 25" (87 x 62 cm.) poster, USA. John Wayne, Kirk Douglas, Patricia Neal, Tom Tryon, Paula Prentiss, Dana Andrews, Burgess Meredith, Franchot Tone, Henry Fonda, dir: Otto Preminger; Paramount. Factually-based fictional account about the US Navy in the Pacific during World War II, with Preminger commanding an all-star cast. As with most Preminger works of this period, the simple, military themed poster art is executed by the great Saul Bass. Our friend, poster collector and dealer Daniel Strebin, provided this information: About a decade ago, he received consignments of Saul Bass silkscreens from the Bass estate. He personally saw invoices for some of them which were printed around 1965. Most of the silkscreens were produced at Art Krebs Studio in Los Angeles. Bass continued to have silkscreens created up until around 1980. All of the silkscreen editions appear to have been in editions of between 50-150. It also seems that once an edition was exhausted, Bass did not make a second edition; as a result, all of these art silkscreens are very rare indeed. Bass never intended for these posters to be sold -- they were intended to be given away. Since he was frequently frustrated with the compromises the film studios inflicted on his magnificent modernist designs, the silkscreens were intended to represent his imagery in its purest possible form. Poster has been stored unrolled and has never been used. Displays only minimal edge wear, JUST ABOUT FINE.

      [Bookseller: Walter Reuben, Inc.]
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        God Bless You, Mr. Rosewater, or Pearls Before Swine

      New York: Holt, Rinehart and Winston, 1965. FIRST EDITION, SIGNED BY VONNEGUT on front free endpaper: "Kurt Vonnegut / Oct 3 1993 / Sagaponack NY." Vonnegut's "fifth novel, God Bless You, Mr. Rosewater, is the story of a tenderhearted but hapless millionaire who hopes to create a better world by being intensely sympathetic to all of his fellow human beings; it was published by Holt, Rinehart & Winston in 1965... Reviewer Martin Levin, writing for the New York Times, described Mr. Rosewater as 'a book that is devoid of anything as square as a plot, its text broken up into short epiphanies, like poetic cantos, with typographical squiggles for segues'. Levin describes here the start of the style that would mark Vonnegut's work for the next several decades. Mr. Rosewater is also the novel that introduces Vonnegut's recurring character and sometime alter ego, science fiction writer Kilgore Trout. Despite his reluctance to characterize the book as a proper novel, Levin nevertheless praises Vonnegut as 'a writer with an excellent ear, a knack for arresting imagery, and a Message'"" (Farrell, Critical Companion to Kurt Vonnegut).The book was inscribed at Sagaponack, NY, where Vonnegut lived for many years.New York: Holt, Rinehart and Winston, 1965. Octavo, original half-cloth and color-patterned boards, original dust jacket. Book near-fine with some wear to spine and a very minor brown spot in the extreme margin of three leaves; dust jacket near-fine with only light, general wear. An exceptionally nice copy of one of the more challenging Vonnegut first editions to find in good, collectible condition and with a particularly strong Vonnegut signature. Very Good / Very Good.

      [Bookseller: The Manhattan Rare Book Company]
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        Midnight Cowboy

      Simon and Schuster, 1965 A near fine first edition (First Printing stated on copyright page) in a fine dust jacket (original price still on front flap), inscribed by Herlihy on the front free endpaper. Light dots of discoloration at top and bottom of covers. Otherwise book is fine and looks unread.. Inscribed by Author(s). 1st Edition. Hardcover. Near Fine/Fine.

      [Bookseller: Bookbid Rare Books]
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        Larionov / Gontcharova. 9 monogramierte und numerierte Originalradierungen. Mit einem Vorwort von Michel Seuphor. Mailand. Galerie Schwarz 1965. 30,7 x 24,4 cm. 7 nicht nummerierte Blätter und 9 Originalradierungen in eingebundenen Passpartouts. Originalleinenband (= International Anthology of Contemporary Engravings, Band 3).

      Galerie Schwarz, 1965.Originalausgabe. Russian book art 138 (mit 3 Abbildungen). Nr. 15 von 100 gedruckten Exemplaren. Die Graphiken wurden 1961 von Gontcharova ( 4 monogramierte Originalradierungen) und Larionov (5 monogramierte Originalradierungen) in Paris geschaffen und wurden hier erstmals veröffentlicht. Der Text von Michel Seuphor dreisprachig: italienisch, französich und englisch. Äußerst seltene und sehr reizvolle Folge von Graphiken aus dem Spätwerk der beiden Künstler.

      [Bookseller: Antiquariat Günter Linke]
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        Die Familie. Ein Foto von Joachim Schuppe UPI. Gruss an Rochus (Kein Leben ohne Kowallek) - Originalfotocollage auf Halbkarton montiert.

      New York 1965 - 19,2 x 25,5 cm. Originalvorlage für die Abbildung in Stefan Wewerkas erster Publikation "Schnitte 1961", dort auch betitelt. Das in 4 Teile zerschnittene Bild mit dem Künstler, seiner Frau Ingrid Broich und dem 1959 geborenen Sohn Alexander in New York. Das zerschnittene Familienidyll. Wewerka wirkte 1965 - 66 als Gastprofessur an der Washington University. Dazu: Der Offsetfilm auf Zelluloid für den Druck.

      [Bookseller: Daniel Thierstein]
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        Fluxmanifesto (Fragment) / Fluxusmanifesto on Fluxsamusement / Fluxshop / Fluxorchestra - Kleinplakat, Offset auf grauem Papier.

      New York 1965 - 17 x 53 cm. gefaltet. Sammlung Bonotto 0019E. - Originalausgabe der Text- und Bildcollage bestehend aus 4 verschiedenen Teilen: 1. Der illustrierten Vignette des Fluxshop - 2. Den von Maciunas entworfenen Fluxköpfen mit dem Text "Fluxorchestra" - 3. Einem Teiltext des "Fluxusmanifesto on Fluxamusement", dem wichtigsten programmatischen Text der Bewegung. - 4. Der Anschrift des Oberkommandos, den Orten in denen Fluxusfeste gefeiert werden und den Fluxusobjekten: Fluxusmusicboxes, Fluxmedicines, Fluxfilms, Flusmenus, Fluxradios etc und der alphabetischen Namen der Fluxkünstler von Akasegawa über Dick Higgins zu La Monte Young and others. - Der obere Rand mit kleinen Läsuren.

      [Bookseller: Daniel Thierstein]
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        Fiftyeigth propositions for one page. - Andruck auf grünem Papier, montiert auf Karton. dazu: 5 S. Typoskript der deutschen Übersetzung des Textes und 1 Blatt mit der Anleitung zur Produktion als Einzelpublikation, monogrammiert von Tomas Schmit.

      März 1965 - 5 Blätter mit je 12 Texten und 1 Zeichnung. 8,5 x 14 cm. Silverman 439. - Hendricks S.499/500. - Erschien als Blatt in Fluxus Newspaper No.7 im März 1965. George Maciunas lud verschiedene Künstler ein, zur Gestaltung einer durch ein Raster vorgegebenen Seite Texte und Bilder zu gestalten. Vier Arbeiten von Yoko Ono, Jim Riddle und Shigeko Kubota und die vorliegende von Ben wurden im Format 56 x 43 cm gedruckt. Maciunas beabsichtigte,neben der Zeitung auch Ausgaben auf starkem Papier im Kärtchenformat als Fluxboxen zu produzieren. Obwohl Maciunas am 10. Januar 1966 an Vautier schrieb, er lasse die Kärtchen jetzt drucken, wurde die Box nie realisiert. Vautier versuchte stattdessen die Box bei der edition et drucken zu lassen. Die Übersetzung der englischen Texte durch Tomas Schmit lietn hier vor. Zudem liefert Schmit eine genaue Produktions- und Gestaltungsanleitung für die Arbeit, von der nicht klar wird, ob es sich dabei um eine übersetzte Anleitung Ben Vautiers oder um Anweisungen von Tomas Schmit handelt, die er in Absprache mit Ben formulierte. Formulierungen wie "einige wichtige anweisungen zum druck des folgenden stückes: (bitte nicht mitdrucken! aber beherzigen??)" weisen m. E. auf Schmit als Verfasser des Textes. Vautier schickte diese und weitere Arbeiten am 12. April 1967 als Beitrag zur Anthologie "Spielpläne" an Bernhard Höke.

      [Bookseller: Daniel Thierstein]
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        La patience de Maigret

      Presses de la Cité. First edition, one of 60 numbered copies on papier de luxe, the only large paper copies.Three small scratched to covers. Presses de la Cité Paris 1965 11,5x16,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Philadelphia: Chilton Books, 1965. First Edition. Hardcover. Good. Stated first edition, first printing. Publisher's original blue cloth binding with white stamping to spine, in first issue dust jacket with $5.95 price intact and four lines of publisher identification on bottom of rear flap beginning with "Chilton Books." Good with a concave roll to spine, cloth toned at edges, previous owner details to front free end paper, musty odor to pages. In a Good dust jacket with light loss at corners and spine ends, toning, general wear, ding to center of spine panel, six line-long ink notation on blank verso of dust jacket, pencil strike through price and revised price lightly below. A classic of science fiction and basis for the David Lynch film, as well as winner of both Hugo and Nebula awards.

      [Bookseller: Burnside Rare Books]
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        Sammlung von 12 s/w- Originalfotografien im Kleinformat von Ludwig Hoffenreich, montiert auf 3 Streifen mit je 4 Bildern.

      (ca. ) 1965 - jedes Bild 5 x 4,5, Streifen: 21 x 5 cm. Die bisher teilweise unpublizierten Fotografien mit Szenen aus verschiedenen Materialaktionen. Ein Streifen aus der Aktion "Rumpsti Pumpsti"l" (Materialaktion 18) vom 8. Mai 1965 im Perinetkeller Wien - "Penisaktion, Materialaktion 21", Februar 1965. - "Astronaut, Materialaktion 27" vom Herbst 1965 - "Das Ohr, Materialaktion 25", Januar 1966. - "Nahrungsmitteltest, Materialaktion 30", Februar 1966 (vgl. Wiener Aktionismus, Band 1, 1988, S. 322, Band 2, S. 246, 247, 248). "Mühl konzipiert seine aktionistischen Arbeiten in dieser Zeit fast ausschliesslich für die photographische und filmische Dokumentation. Die Notwendigkeit einer spontanen Auseinandersetzung mit Publikum, die in späteren Aktionen Mühls eine wichtige Rolle spielt, ist bei diesen Arbeiten noch nicht gegeben."

      [Bookseller: Daniel Thierstein]
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        APERTURE (The Periodical of Fine Photography).

      Extensive collection of 103 numbers published between 1965 and 2002 (Aperture Inc., Millerton,New York) as follows: Vol. 12 no 4 (1965), Vol. 13-17 cplt. (lacking vol. 14 no 2), continued with a continuous issue numbering: Nos. 78 to No. 167 (Summer 2002) (but lacking Nos. 86, 157, 162 and 163. All fine condition. Mostly still in the original mailing boxes, with publisher's catalogues and ephemera intact. Elaborately produced,one of the foremost current photography periodicals, important for the history as well as for contemporary photography, thematic numbers (e.g. no 123 New German Photography), and on work of individual photograpgers (A.Renger_Patsch, J.Sudel (2 nubers), P.Strand, E.Weston, Fox Talbot, M.Alvarez Bravo, M.Munkacsi, A.Langdorn Coburn, P.Caponigro, J.Uelsman, etc.

      [Bookseller: John BENJAMINS Antiquariat bv]
 46.   Check availability:     NVvA     Link/Print  

        Madrid Suite, Number 8 [H]

      1st Edition New York: Hollander Workshop, 1965. ORIGINAL LITHOGRAPH BY ROBERT MOTHERWELL, one of only 100 signed and numbered by Motherwell. "For this series, one of many works with a Spanish theme, Motherwell recalled an experience he had while honeymooning in Madrid with Helen Frankenthaler in 1958. He had pinned drawing paper on the hotel walls and like the way the texture of the wall transferred itself to the sheets as he drew. To re-create this experience, Motherwell taped transfer paper to the spackled walls of [printer Irwin] Hollander's studio and rubbed the sheets with lithographic crayons to achieve the desired transfer of texture" (Wye and Figura, Artists & Prints: Masterworks from the Museum of Modern Art).As Motherwell's printer and collaborator Hollander later explained: "These are rubbings! . . . a transfer of feeling from Madrid to Tenth Street. So by putting a French transfer paper on the wall and taping it, he could take litho crayons and rub. Again, using five grades of pencils, five grades of crayons, five grades of blacks, five grades of washes, he could explore and touch the surfaces. And he did it ten times. Those things sold out. People really loved this kind of symbol. Rich blacks and whites--they're the most desired. These are so rare that only a few people have these. It was just like play. They have to be looked at and spoken about very differently--that's the essence of them. Here is the simple language of Motherwell, coming from the hand, the wrist, very freely, innocently, seeing the surface of the wall, not imposing his own will. . . . He's still working within a grade of five, which is pure language. The language of the greases" (quoted in Belknap, The Prints of Robert Motherwell: A Catalogue Raisonne).Number 8 (out of a suite of 10). Belknap 16. This lithograph 94/100. New York: Hollander Workshop, 1965-66. Size (full litho): 22x27 in (559x686 mm). Printed on Arches paper. A strong impression in fine condition. RARE. Fine.

      [Bookseller: The Manhattan Rare Book Company]
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