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

        Oeuvres

      - 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]

      [Bookseller: LIBRAIRIE GIL-ARTGIL SARL]
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        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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        CANCELLERESCA BASTARDA DISPLAYED.

      (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 ]
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        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.]
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        Stormbringer

      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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        Le Musee de l'Homme suivi de La Peche au Soleil Levant

      Galerie Alexandre Iolas 1965 - illustrated wraps tipped-in plates original etching by Max Ernst signed in sand colored cloth chemise and slipcase no. 100 one very small stain on edge of slipcase. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: San Francisco Book Company]
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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]
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        SAUL BASS SILKSCREEN / IN HARM'S WAY (1965)

      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.]
 24.   Check availability:     AbeBooks     Link/Print  


        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]
 26.   Check availability:     Biblio     Link/Print  


        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]
 28.   Check availability:     ZVAB     Link/Print  


        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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        Dune

      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]
 32.   Check availability:     Biblio     Link/Print  


        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]
 34.   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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        Collection of 17 autograph letters and postcards spanning the years 1965-2001, all to the distinguished music administrator and author Renée Levine [Packer], with some to both Levine [Packer] and violist Jessy Levine. Some wear and soiling; occasional staining and creasing. In very good condition overall....

      1. Autograph letter signed "Love Lukas" to Levine [Packer] and noted violist Jessy Levine. 1 page (ca. 103 x 147 mm.). Postmarked [Switzerland] [?] 24, [19]65. In blue ink on a postcard with a photograph of Rorschach am Bodensee to verso. Foss's trips to France and Germany inspire a little bathroom humor. "... Berlin greatest success ever. Tip about European travel: in France the food is great, in Germany the toilets are great. The trick is to go to France first...." 2. Autograph letter signed "Lukas" to Levine [Packer] and Jessy Levine. 1 page (ca. 109 x 150 mm.). Postmarked São Paolo, August 29, [19]67. In blue ink on a postcard with a panoramic view of Botafoga Bay and Sugar Loaf in Rio de Janeiro to verso. Foss has conducted some very successful performances of orchestral works by Beethoven, Bach, Brahms, and Ravel - as well as his own recent composition, Phorion - in Rio de Janeiro and São Paolo. He states that a certain "Eleazar" - perhaps the Brazilian composer and conductor Eleazar Carvalho (1912-1996) - had not received Jessy's wires until returning to Rio, but has nevertheless been wonderful to him. "Dearest ones! In love with Rio (it works both way, the love affair, 1st concert crazy success (all Brahms) - now in Sao Paolo, (another orchestra) Leonore 3, Bach D minor piano concerto, Phorion, Daphnis, the back to Rio for panamerica program... " 3. Autograph letter signed "Lukas" to Levine [Packer]. 1 page (ca. 103 x 149 mm.). Dated [Torino] April 17, [19]68. In blue ink on a postcard with a photograph of the Solferino Square and Angelica Fountation in Turin, Italy to verso. Foss sends his greetings to Packer and others at the University of Buffalo. "Hi!!! Hope all is well, under control. And that I am found dispensable (but terribly missed at the same time). Fond greetings to all C.A.'s (incl. Egon). Love to Jessy [?], Allen and especially to your pretty self." 4. Autograph letter signed "Lukas" to Levine [Packer] and Jessy Levine. 1 page (ca. 103 x 145 mm.). Postmarked Bellagio, September 21, [19]69. On a postcard with a photograph of the Villa Serbelloni on Lake Como. Foss sends his regards from Italy, where he is "going crazy here with all the beauty, the flowers, the gardens, trees, wines... " Having just completed a new orchestral piece (likely Geod), he is off to Germany for "some contrast." He hopes Renée had a good time in Mexico, even without Jessy. He asks how "our orchestra" (probably the Buffalo Philharmonic) is faring. 5. Autograph letter signed "Love Lukas" to Levine [Packer] and Jessy Levine. 1 page (ca. 104 x 149 mm.). Postmarked Baden-Baden, November 27, [19]69. In purple ink on a postcard with a reproduction of Max Ernst's painting, The Elephant of the Celebes, to verso. Foss sends playful greetings to the Levines and others in Buffalo. "Here's the decor for my piece for Pomos [?] (if I do one) to be performed with Lions and/or Avalanche. And how's my beloved Buffalo Phil[harmonic]? Say hello to Everyone... Paris was wild, heaven and incredible success." 6. Autograph letter signed "Lukas" to Levine [Packer] and Jessy Levine. 1 page (ca. 103 x 145 mm.). Postmarked Kyoto, August 29, [19]70. In blue ink on a postcard with a photograph of Himeji Castle to verso. A humorous account of the difficulties and delights of Foss's trip to Japan, which includes attending a puppet theater with Leonard Bernstein. He also mentions a certain "De Pablo" - perhaps the Spanish composer Luis de Pablo (b. 1930) - who never showed up to the "Expo." "Venice [?] was more my kind of trip. And it would be better if you were here too. Communication is rough. Since it is impolite to say no a typical exchange is something like: 'Will you have drinks?' 'Yes.' 'O.K. let's go.' 'I cannot.' 'Then we can't have drinks.' 'Yes.' - Tonight to the puppet theater (with L. Bernstein). Kyoto is tremendous. Expo went o.k. Space theater the best ever. Renée, de Pablo never showed up... " 7. Autograph letter signed "Lukas" to Levine [Packer] and Jessy Levine. 1 page (ca. 103 x 148 mm.). Postmarked Tel Aviv, January 10, [19]72. In blue ink on a postcard with a view of the Shalom Mayer Tower in Tel Aviv to verso. Foss sends his greetings from Israel, where is is busy performing, interviewing, and studying Israeli scores. He notes that, although Israel is beautiful, "postcards is not Israel's strong point." He has met one of the Levine's friend, a violinist, in Jerusalem. "... Mad life, beautiful country. Concerts every day. (Each program 6 times) and rehearsals almost every day (3 hours)... The reviews: loveletters. No fun, but success (am I getting old?)... The orchestra is very good and very good to me. Do you still have your Mexican tan? Renée?..." 8. Autograph letter signed "Love Lukas" to Levine [Packer]. 1 page (ca. 85 x 135 mm.). Postmarked Bridgehampton, August [?]1, 1973. On a postcard from the Hotel Cortes in Mexico City. Foss has recently conducted the Orchestra de las Americas in Mexico. He will leave again in September with the Brooklyn Orchestra, and urges Packer to fly with them. He comments on Packer's recent departure from Buffalo, presumably to take a position a the California Institute of the Arts in Valencia, California. "... We miss you. Write some news. Buffalo (where I go in December) will feel different without you. Give my best to Carol P. if you speak to her. And do drop your old friend a card." 9. Autograph letter signed "Lukas" to Levine [Packer]. 1 page (ca. 98 x 218 mm.). Postmarked 1973. In blue marker on an Israeli Airlines postcard. Foss discusses the American composer Paul Reif (1910-1978), who submitted several compositions, presumably to the contemporary music group in Buffalo. He wonders whether Morton Feldman, fellow composer and co-director of the group, can examine them. "... Paul Reif (I think that's the name) sent 4 pieces to you months ago: Trio - Septet - Sextet - Duo for 3. Any of these performable? Wished I had glanced at them while in Buffalo. He may be o.k. Perhaps Morton can look the stuff over..." 10. Autograph letter signed "Love Lukas" to Levine [Packer]. 1 page (ca. 103 x 148 mm.). Postmarked Torino, February 16, [19]78. On a postcard with a photograph of the S. Giovanni Battista Cathedral in Turin, Italy to verso. Foss sends his greetings to Packer and others in Buffalo. He suggests that she program his newly composed work, Music for Six (1977), on her "final concert." He also mentions Arthur Cohn (1910-1998), an American composer, conductor, and director of "serious music" at the Carl Fischer music publishing house. "... By now it is clear the piece can't be ready for your final concert. So why not do my new 15 minute piece: Music for Six (any six). Arthur Cohn has it at Fischer's. I'll come for the event, not for Foss but for Levine. O.K.?... Life in Italy is o.k. but Torino is a bore..." 11. Autograph letter signed "Lukas" to Levine [Packer]. 1 page (ca. 140 x 88 mm.). Dated [Bridgehampton], July 25, 2001. On a white postcard. With Levine Packer's Baltimore address to verso. "... Your work is progressing well. Yes - I'll help pick the rising young composers you will need for Carnegie Hall..." 12. Autograph note signed "Lukas" to Levine [Packer]. 1 page (ca. 142 x 255 mm.). No date. In black marker on heavy dark ivory paper. Foss sends Packer a gift, and a playful birthday greeting. "Dear Birthday Child, since they didn't have a bottle of teargas perfume I though you might like this..... Ciao - a big hug." 13. Autograph letter signed "Lukas" to Levine [Packer]. 1 page (ca. 86 x 138 mm.). No date. On a postcard with a photograph of the Hotel "Las Mañanitas" in Cuernavaca, Morelos, Mexico to verso. On vacation in Mexico, Foss sends his greetings to Renée and others in Buffalo. "Reneé dear - Here I am, faithfully - where you sent me. 2 flamingos follow me around. The gardens are lovely. Just what the doctor ordered. Wished you & Jessy were here. This 3 day period is my first 'vacation' in... oh - ever. I feel like Mahler in Death in Venice. Well - almost..." 14. Autograph letter signed "Love Lukas" to Levine [Packer]. 1 page (ca. 86 x 138 mm.). No date. On a Mexican postcard with a reproduction of a primitive painting on Amate Paper from the State of Guerrero to verso. Foss sends his greetings from Mexico, where it is "more relaxed" than in "bJAi." He has lost his American credit card. "...Didn't see you enough in bJAi. Culpa mia no doubt. But what a crazy schedule. Never again 2 rehearsals & 2 programs on one day. It's more relaxed here. Well relaxed? Right now, no. I lost my American credit card - same old Lukas - I need a travel companion. O.K..?" 15. Autograph letter signed "L" and "Love Lukas" to Levine [Packer]. 5 pp. (ca. 149 x 115 mm.). No date. In black marker and blue ink on stationery with Hebrew script to head and foot. With original autograph envelope with Levine's address at the Center for Creative and Performing Arts at the University of Buffalo to recto and Foss's Israeli return address to verso, postmarked [Jerusalem?] February 13, [19]73. Foss mentions several prominent musical personalities, including Spyros Sakkas, Julius Eastman, Morton Feldman, and Leopold Stokowski. Because he must unexpectedly conduct the Israel and Los Angeles Philharmonic, he asks Levine Packer to cancel some classes at the Manhattan School (of Music?) on his behalf. His frequent absences from Buffalo make him uneasy. "... Antonion [?] writes that he heard nothing from you. He wants Spyros Sakkas baritone badly. What about it? It would be hard on Julius E. to learn all that... Could you telephone Manhattan School where I should be teaching March 2nd? Tell them that this extension of my stay hurts me more than it hurts them, it is sort of a command performance (substitution for Stokovski etc. etc.) that I will of course make up for it... If they are upset, I could fly in just before Feldman recording... I think they are a bit upset about the avantgardness of my student composers concert, so they should be handled with kid gloves... Los Angeles Philharmonic suddenly wants me also, for early March. Seems that every time some one gets sick it is: 'call Lukas' - Better this way, than the other way around. Anyway - forgive me for bothering you with this Non center diplomatic assignment. It's really true: no one else can do it just right: express my unhappiness over the postponement, work on counter solutions, etc. etc..." 16. Autograph letter signed "Lukas" to Levine [Packer]. 2 pp. (ca. 279 x 219 mm.). No date. In blue ink on white paper. With the original autograph envelope with Levine's Buffalo address in blue ink, postmarked Jerusalem, July 16, [19]73. Levine must choose an Italian composition for the concert series of a certain "Signora Panni." Foss suggests a work by Luciano Berio. Ms. Panni would also like to program some of Foss's own music. At the letter's conclusion, he mentions Renée Levine's husband (?) Jesse, a noted violist. "... [Signora Panni] begs for an italian piece so it will fit in her series. Let's give it to her. You choose it: Berio or what ever is within our tour limitations, but not too slight a piece. It must not be a mere gesture. She also wants Foss music, otherwise she does not seem to care. Write her the program... Everybody here is eagerly anticipating Jesse's arrival on the scene. I built him up so that he's all set. Want to live in Jerusalem?... Love and kisses..." 17. Autograph letter signed "Lukas" to Levine [Packer]. 1 page (ca. 305 x 178 mm.). On a Pan Am air letter with integral address panel. Postmarked München [date illegible]. Foss wishes Levine at happy 27th birthday. Because he is on his way to Germany, she must accept some rather unpleasant calls, from none other than Barbara Kolb and Lamont Young, two noted American composers. He asks her several questions about musicians and performing forces, and warns her not to forget about French composer Iannis Xenakis. "... Arrived at Kennedy, checked in - passport expired. 'Sorry sir, you can't go.' Well here I am on the plane. I jumped it. Will I be let in to Germany?... Will I be let in to the USA next week? Will anyone miss me if I don't get back in, except Barbara Kolb whose daily telephone calls I have finally avoided by flying to Europe. Did she call you yet? She will. Get me off the hook - also with Lamont Young please. In both instances I felt comipelled to say: 'I am all for you' - but to you I say what's best for the center. Don't quote me, blame circumstances. 'Mr. Foss can only do so much...'... What are you doing about strings? Don't forget Xenakis. There, you are beginning to feel older..." Lukas Foss was an American composer, conductor, and pianist. "For all their diverse styles, Foss's works spring from a distinct personality: enthusiastic, curious and receptive to every kind of musical idea. Not coincidentally, these are the same attitudes he instilled in audiences with his performances of the classical repertory and new music. In short, he was one of his era's most communicative and representative composer-performers." Gilbert Chase and David Wright in Grove Music Online. "Born in France, raised in New York and Mexico City, [Renée] Levine Packer worked with Lukas Foss and was co-director with Morton Feldman of the renowned contemporary music group in Buffalo, New York, and a director of the Contemporary Music Festival at the California Institute of the Arts. She was Director of the Inter-Arts program at the National Endowment for the Arts, the producer of Steve Reich and Beryl Korot's multimedia opera The Cave, and a dean at the Maryland Institute College of Art." Oxford University Press online....

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        Tlll minnet av mig själv

      Stockholm: Nordisk Rotogravyr, 1965 33 plates. [40] pp. Decorated paper covers. 20 x 14.9 cm. The first monograph on the famous Swedish photographer. Circular mark on front cover from label. **Free domestic shipping with direct order.

      [Bookseller: Laurence McGilvery]
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        FASTER, PUSSYCAT! KILL! KILL! (1965)

      Eve Productions 1965 - Vintage original 41 x 27" (103 x 68 cm.) one sheet poster, USA. Tura Satana, Haji, Lori Williams, Ray Barlow, Sue Bernard, dir: Russ Meyer; Eve Productions. One of the most famous ground-breaking films of all time and one of the films which broke down the walls of the legion of decency Production Code, which had influenced the way films had been made for more than 30 years. It was the theme and the suggestion which had the office up in arms. Though there was no nudity, the film broke many taboos and made way for the dissolving of the stringent code rules within a few years. This was Russ Meyer's ode to the violence of women. Tura Satana, Haji, and Lori Williams were the finest of sexy, tough villainesses. The story concerned three strippers, who encounter a couple in the desert. The thrillseeking vixens kidnap the girl, then descend upon a crippled old man who supposedly is sitting on cash. They taunt and seduce his sons as they try to find the money. Not terribly successful upon first release, it is now a cult classic. Poster is on linen and pinholes at corners and fold lines and fold junctures have been touched up. There is an area of spotting at the bottom left of the poster, in the white back ground of the title treatment and in the blank white area below. NEAR FINE

      [Bookseller: Walter Reuben, Inc.]
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        Six Editions of Naked Lunch with: "Naked Lunch at the Bourgeois Pig: William S. Burroughs Re-member-ed" DVD, all From the Collection of Jim McCrary

      London, England; New York, NY; Stockholm, Sweden; Tokyo, Japan: The Olympia Press; Paladin-HarperCollins; Flamingo-HarperCollins; Grove Press; Kawadeshoboshinisha; Bokforlaget Pan/Norstedts; Mammoth Publications, 1965-2009. First Edition; First Editions Thus; Third Printing. Four Softcovers; Two Hardcovers; One DVD. Near Fine-Very Fine/Fine-Very Fine. Jim McCrary, poet & educator, is a resident of Lawrence, Kansas. During William S. Burroughs' later years there, McCrary was his friend & associate; a member of Burroughs Communications led by James Grauerholz. Offered here are six different editions of WSB's most famous breakthrough work, Naked Lunch; along with a NL-related DVD. All of these were owned by & obtained directly from McCrary. The collection consists of: (1) Third Printing of the first softcover original edition, Olympia Press, Paris, June 1965. All points in Maynard & Miles, A2a (pg.10) for this printing are present, including colophon. As noted in M&M & as collectors know, the second & third printings as issued do not include the dust jacket & a few minor points that are only present in the first printing. (2) First edition thus trade-format softcover original, first printing, Palladin-HarperCollins, London, 1992. This edition is a tie-in with the film version of NL directed by David Cronenberg released the previous year (1991), with images of Peter Weller portraying WSB on front & back covers. Includes "Afterthoughts on a Deposition" written by WSB in October 1991. Shoaf, Section I, 2aaa, pg. 22. (3) First "Flamingo Sixties Classic edition" thus softcover original, first printing, Flamingo-HarperCollins, London, 2001. Includes an introduction by J.G. Ballard. Shoaf, Section I, 2ppp, pg. 24. (4) First hardcover edition thus, "Naked Lunch: the restored text," first printing, Grove Press, New York, 2001. This is the edition edited by Grauerholz & Barry Miles, who "...have given us an edition of the book that corrects numerous textual errors accumulated over the years...incorporates Burroughs's own notes on the text, all the accompanying essays that he added to later editions, and...an appendix of abundant, newly discovered material and alternate drafts from the original manuscript..." (from front flap). Shoaf, Section I, 97, pg. 66. (5) First hardcover edition thus, first printing, Kawadeshoboshinisha, Tokyo, 1992. This is the "first uncensored Japanese edition" (Shoaf, Section I, 2eee, pg. 23). Text in Japanese, right-to-left format. (6) First edition thus softcover original, first printing, Stockholm, Sweden (possibly printed in Denmark), 1997. Text in Swedish. Shoaf, Section I, 2hhh, pg. 23. (7) "Naked Lunch at the Bourgeois Pig: William S. Burroughs Re-member-ed" DVD in case, Mammoth Publications, Lawrence, KS, 2009. Subtitled "Naked Lunch Publication 50th Anniversary 2009," this rare production consists of "Interviews, remembrances, photos, film, & readings August 2, 2009, 50th anniversary celebration of the publication of Naked Lunch by William S. Burroughs" & "Features commentary on Burroughs' creative process, shotgun art, and friendships." (back case cover) This local event took place exactly on the twelfth anniversary of WSB's death, & very close to the 50th anniversary of the first printing of (1) above in July of 1959 (M&M, A2a, pg. 8). Among those included in the filmed interviews & remembrances is McCrary, along with Grauerholz & others. ***In addition to (1) through (7), we include a surprise bonus item from McCrary's library, collectible & very relevant to Naked Lunch.*** A one-of-a-kind package of or relating to WSB's tortuous masterpiece, some items in which were undoubtedly handled & enjoyed by WSB himself with his friend, Jim McCrary. (1) in relatively fine condition, better than most we have seen, with only miniscule-to-moderate wear, Chipping & creasing to edges & corners of front, back covers & spine; one closed, approx. 1/2" tear at upper left edge & corner of spine; very light scratching & spotting of back cover; moderate spotting to all edges of text block. Interior very fine with only horizontal crease decreasing through upper area of first five or so page leaves (apparently a flaw as issued); light bumps & creases at corners of some page leaves. (2) in very fine condition with only very light, faint rubbing & scratching of front, back covers & spine; tiny-to-small bumps & creases at all corners of same; mild browning & spotting at all edges of text block. Interior very fine with only moderate browning mostly at blank margins of page leaves; very faint wave-bumps at upper corners of first few of same. (3) in very fine condition with only tiniest bumps at corners of front, back covers; mild-to-moderate browning & spotting at all edges of text block esp. upper edge. Interior very fine with only very light browning at blank margins of page leaves; small, faint bump-waves at upper edges of some of same. (4) Book in very fine condition with only a few tiny spots at yellow portions of front & back boards (possibly as issued); tiny amount of spotting & scratching at all edges of text block; otherwise substantially mint inside & out. Unclipped dust jacket in very fine condition with only lightest rubbing & a few short, faint scratches at front, back covers & spine; tiniest bumps at all corners of same & spine-edges. (5) Book in very fine condition with only moderate spotting & scratching at upper edge of text block; much milder of same at other edges of text block; very small bump-curves at corners of covers likely as issued; otherwise virtually mint inside & out. DJ in very fine condition with only mild rubbing & a few short, faint scratches at front & back covers; light soiling at & near spine-edges of same esp. back cover; very slight wear & creasing at spine-edges; tiny amount of rubbing, soiling & creasing at thin upper edges of front & rear flaps, which are slightly clipped at thin, broad edges as issued. Most of the remains of original band loosely included behind back cover, one smaller (lower?) portion has been torn off leaving that edge jagged & lightly creased, otherwise in fine condition. Format of book & dj is the reverse of other, western editions (see above). An elegant, exemplary Japanese production complete with an attached cloth ribbon bookmark. (6) in near-fine condition with only mild rubbing of front, back covers & spine; mostly mild creasing & wear at edges, corners & surfaces of same with a mild but long vertical crease at upper-mid area of front cover from upper edge; creasing & folding at thin edge of upper right corner & edge of same; moderate browning of all edges of text block; moderate-to-significant spotting at upper edge of same. Interior very fine except for browning to mostly blank margins of page leaves; small bumps & waves at upper corners of some of same. (6) DVD in very fine, playable condition; case in fine condition with only mild wear of clear plastic laminate & attached sticker-seal; tiny fold below upper right corner of front paper cover under laminate; very light wear & creasing at thin lower edge of front, back cover & spine of same.

      [Bookseller: Third Mind Books]
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        Fox in Socks: A Tongue Twister for Super Children.

      Random House, 1965 - First edition, first printing. Some rubbing to spine tips and corners, slight toning, near fine in very good, unchipped dust jacket with some soft folds, light wrinkles and minor soiling from handling, in mylar cover. Inscribed by the author. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: THE HERMITAGE BOOKSHOP ABAA Member]
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        Publicity Postcard, c.1965.

      UK: Fan Club, [c.1965]. FULLY SIGNED Publicity postcard with (early) photograph of the band to upper side, bordered, with group name, and printed facsimile signatures to reverse side. Fully signed by the classic line-up of Jagger, Jones, Richards, Watts and Wyman. All the printed signatures have been crossed through in blue ballpoint, with Mick and Brian clearly signing beside in blue, photograph side has the remaining autographs of Keith and Bill in black ballpoint, with Charlie signing in blue. Mounted in clip-frame, with display xerox of concealed side. Small area of tape mark (previously stuck in autograph book) to left hand border, not affecting image or text, else in fine condition. A fine set of autographs from the 'Greatest Rock n' Roll Band in the World'. Provenance; Ex Bonhams, Rock n Roll Memorabilia, no.11289 lot 91 (pt.).

      [Bookseller: Adrian Harrington]
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        A Sense of Where You Are

      Farrar, Straus & Giroux, 1965 Near fine in a very good dust jacket, first edition (so stated on the copyright page), inscribed by McPhee with reference to Brandeis University and signed by Bill Bradley, the subject of the book.. Inscribed by Author(s). 1st Edition. Hardcover. Near Fine/Very Good.

      [Bookseller: Bookbid Rare Books]
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        The Correspondence of Henry Oldenburg - Volume I - Volume IX. Volume I: 1641 - 1662 with the collaboration of Eberhard Reichmann (With a Frontispiece - Portrait of Henry Oldenburg, attributed to John Van Cleef) / Volume II: 1663 - 1665 (With a Frontispiece Portrait of Robert Boyle) / Volume III: 1666 - 1667 (With a Portrait of Sir Joseph Williamson) / Volume IV: 1667 - 1668 (With a Frontispiece of Arundel House, temporary Home of the Royal Society) / Volume V: 1668 - 1669 (With a Frontispiece of a "Mountainous Landscape") / Volume VI: 1669 - 1670 (With a Frontispiece Portrait of John Flamsteed) / Volume VII: 1670 - 1671 (With a Frontispiece Illustration of Aurangzeb) / Volume VIII: 1671 - 1672 (With a Frontispiece "Map of Brazil") / Volume IX: 1672 - 1673 (With a Frontispiece illustration "Dissection of the Salmon") /

      The University of Wisconsin Press,, 1965. 9 Volumes. Madison / Milwaukee, The University of Wisconsin Press, 1965-1973. Large Octavo. c. 4500 pages with numerous illustrations (see complete collation and list with illustrations in the commentary). Original Hardcover with original dustjackets. Excellent condition with only very minor signs of external wear. The dustjackets with some dampstains. Additionally included is Volume XI (May 1674 - 1675) in the 1977 - Mansell-Edition. Includes correspondence by Oldenburg to Vossius, Oliver Cromwell, Milton, Bake, Boyle, Hobbes, Hartlib, Beale, van Dam, Hevelius, Southwell, Wallis, Huygens, Daniel Georg Morhof [Polyhistor], Swammerdam, Cassini, Newton, etc. etc.nnVolume I - XL, 504 pages with V plates (Portrait of Oldenburg / Bremen about 1620 / Bust of John Milton / Letter from Oldenburg to Huygens / Portrait of John Wilkins by Mary Beale) / Volume II - XXVI, 678 pages with V plates (Portrait of Robert Boyle, engraved by William Faithorne / Portrait of Johannes Hevelius / Westminster in Oldenburg's Time / Portrait of Sir William Petty / Portrait of William, Lord Brouncker) / Volume III: XXIX, 649 pages with VI Plates and I Figure (Portrait of Sir Joseph Williamson / Auzout's Micrometer / Towneley's Micrometer / Hooke's Long Telescope, 1667 / The Tower of London, c. 1700 / Rival Paths for the Comet of 1664/1665 / Volume IV - XXV, 601 pages with V plates (Arundel House / Blood Transfusion / Portrait of Sir Paul Rycaut by Johann Rundt / Design for Chelsea College / Wren's Presumed Sketch for the Royal Society's Building) / Volume V: XXVI, 604 pages with V plates ("Mountainous Landscape" after a miniature by Lucas van Valkenborgh, 1576, showing a smelting furnace amidst mountain crags, with a water wheel for working the bellows in the furnace house / Portrait of John Wallis / Fossils / Portrait of Rene Francois de Sluse / Portrait of Sir Christopher Wren) / Volume VI: XII, 660 pages with IV plates and one figure: (Portrait of John Flamsteed / Portrait of Regnier de Graaf / Anatomical Drawings / Portrait of Marcello Malpighi and a Map of Picard's Survey) / Volume VII: XXVIII, 600 pages with V plates (Portrait of Aurangzeb (1618-1707) [after] An eighteenth-century miniature from the British Museum Manuscript Add. 5254, no.8 / Anatomical Drawings by De Graaf in Letter No. 1472 / Portrait of Gottfried Wilhelm Leibniz / Anatomical Preparations from Frederik Ruysch's "Thesaurus Anatomicus" / "Hekla in Iceland" from Abraham Ortelius' "Theatrum orbis terrarum additimentum IV" / Volume VIII: XXVII, 663 pages with III plates (Map of Brazil from Joan Blaeu's "Atlas minor, sive cosmographis Blauiana" / Portrait of Sylvius / Picard's Quadrantt) / Volume IX: XXX, 706 pages with III plates (Swammerdam's Dissection of the Salmon / Portrait of Thomas Hobbes / Swammerdam's Dissections of Lungs and the Rhinoceros Beetle) //nnHenry Oldenburg (also Henry Oldenbourg) (c. 1619 as Heinrich Oldenburg ? 5 September 1677) was a German theologian known as a diplomat, a natural philosopher and as the creator of scientific peer review. He was one of the foremost intelligencers of Europe of the seventeenth century, with a network of correspondents to rival those of Fabri de Peiresc, Marin Mersenne and Ismaël Boulliau. At the foundation of the Royal Society he took on the task of foreign correspondence, as the first Secretary.nBorn in Bremen, Germany, he trained in theology and received his degree on 2 November 1639. His movements during the 1640s are unclear, but he is thought to have worked as a tutor in England for much of the decade. In 1648 he left England and travelled, returning in the end to Bremen.nHe went to London in 1653, as a diplomat; and settled in England of the Interregnum. He forged a strong relationship with his lifelong patron Robert Boyle, and was tutor to Boyle's nephew Richard Jones. Oldenburg married his second wife, Dora Katherina Dury (1654?77), the daughter of John Dury. Either through John Milton, whom he met early in his mission, or through Lady Ranelagh, sister to Boyle and the mother of Richard Jones, Oldenburg gained entry to an important intellectual circle, including Samuel Hartlib, whose extensive web of correspondents Oldenburg was to take over, John Dury who became his father-in-law, and others such as William Petty. Among Oldenburg's correspondents at this time was Baruch Spinoza, who he was introduced to on a trip to the Netherlands, and to whom he presented a volume of writings on scientific topics by Boyle.nAfter the Restoration he became an early member (original fellow) of the Royal Society (founded in 1660), and served as its first secretary along with John Wilkins, maintaining an extensive network of scientific contacts through Europe. He also became the founding editor of the Philosophical Transactions of the Royal Society. Oldenburg began the practice of sending submitted manuscripts to experts who could judge their quality before publication. This was the beginning of both the modern scientific journal and the practice of peer review. Philosophical Transactions of the Royal Society continues today and is the longest running scientific journal in the world. He was briefly imprisoned in the Tower as a suspected spy in 1667, during the Second Anglo-Dutch War.nOldenburg's correspondence was linked to support from the politician Sir Joseph Williamson; in part Oldenburg supplied Williamson with intelligence information. Oldenburg enjoyed good health in his lifetime, but he fell seriously ill on 3 September 1677, and he died two days thereafter at his Pall Mall, London home. He was interred on 7 September at St Mary the Virgin, Bexley. His widow died ten days later. (Wikipedia)n

      [Bookseller: The Time Traveller's Bookshop ]
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        Typed letter signed to Rolf Liebermann, director of the Hamburg Staatsoper.

      1 page. Quarto. On onionskin paper. Dated Hollywood, California, November 16, 1965. In English. An important letter, in which Stravinsky discusses Ingmar Bergman's apparent refusal of an offer to direct a performance of his opera, The Rake's Progress. Stravinsky desperately asks Liebermann if he could persuade anyone else to do it. "Naturally, I am deeply offended at Bergman's attitude but what is more important is that I am very concerned to save the performance of it that you had planned. Is there no chance that you could pursuade[!] [Walter] Felsenstein to do it... Even Helen Weigel-Bergman's staging was heavily Brechtian... Laurence Olivier... could do it." Creased at folds; file holes to left margin; two small pieces of tape to upper margin of verso. Together with a fine photograph of the composer in profile holding a cigarette, 170 x 188 mm. The Rake's Progress, to a libretto by W.H. Auden and Chester Kallman after William Hogarth's series of paintings (1732-33), premiered in Venice at the Teatro La Fenice on September 11, 1951. "Despite some early disappointment with its retrospective manner" (Stravinsky had cited Mozart's late operas as sources of inspiration and style)... the Rake has become a stout repertory item, with more productions... than any other opera written after the death of Puccini." Richard Taruskin in Grove Music Online. Notable productions include Fritz Reiner's with the Metropolitan Opera in 1953 and Ingmar Bergman's at the Royal Swedish Opera in Stockholm in 1961, of which Stravinsky was especially fond. It is not clear whether the production discussed in the present letter ever came to fruition. Stravinsky's suggested replacements for Bergman (Walter Felsenstein, Helen Weigel - the second wife of Bertolt Brecht - and Sir Laurence Olivier) are certainly intriguing, and deserving of further research. Swiss composer and opera manager Rolf Liebermann (1910-1999) was director of the Hamburg Staatsoper (from 1959-1973 and 1985-1988), which he made into one of the centers of modern music theater. During his tenure there, he commissioned 24 new operas, including Penderecki's The Devils and Henze's Der Prinz von Homberg.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        La centaine d'amour, sonnets

      Club des amis du livre progressiste 1965 - - Club des amis du livre progressiste, Paris 1965, 14x20cm, reliure de l'éditeur. - 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. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Bilingual edition with the French translation was made by Jean Marcenac and André Bonhomme. Signed autograph of Pablo Neruda, the green felt, Hubert Lesigne enriched autograph dedication of the author autograph signed Jean Marcenac and an autograph signing Andre Bonhomme and even his wife. Publishers'binding with full canvas shimmering purple, smooth back, marginally discolored boards. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Der Frieden.(Nr.27 von 80 nummerierten Exemplaren.)

      Selbstverlag des Künstlers,Ruvigliana 1965 - Eine Komödie. Übertragen von Ludwig Seeger. Mit 29 Orig.-Holzstichen von Imre Reiner. Ruvigliana, im Selbstverlag des Künstlers, 1965. Folio. 1 Bl., 88 S., 4 Bl. auf weißem handgeschöpften Bütten. Orig.Karton mit Büttenumschlag.-Eins von 80 nummerierten Exemplaren (Gesamt: 86 Expl.)(dieses hat die Nr.27). - Im Druckvermerk vom Künstler signiert. - Tiessen II, 37.29. - Gedruckt in den Werkstätten der Buchdruckerei Benteli AG in Bern. Die Typographie besorgte Max Caflisch. Handsatz aus der 16 Punkt Antiqua und Kursiv Christoffel van Dijcks. - Das erste Blatt mit Exlibris und materialbedingt gebräunt. - Gutes Exemplar. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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        16 s/w Originalfotografien 8 von H. Cibulka und 4 Bildern von E.Nitsch aus verschiedenen Aktionen der Jahre 1965 und 1965. montiert auf Papier.

      - 1965 - Einzelbild 6 x 6 cm. = 24 x 24 cm. Mit 3 Aufnahmen aus der Aktion 9 mit Nitsch, Schwarzkogler und Cibulka, 6 Bildern von H. Cibulka aus der 12. Aktion vom 8.9.1965 mit Rudolf Schwarzkogler, 6 Bildern aus der 18. Aktion vom 29.5.1966 und 1 aus einer von uns nicht zuweisbaren Aktion. - Ein Teil der Bilder wahrscheinlich bisher unveröffentlicht.

      [Bookseller: Daniel Thierstein]
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        Gesammelte Werke und Briefe). Hrsg. und eingeleitet von Erich Loos. Erstmals nach der Urfassung ins Deutsche übersetzt von Heinz von Sauter. 18 Bände.

      Propyläen (1965-1970), Berlin - 8vo. Mit sehr vielen Bildtaf. Orangerotes OLdr. m. zweifarbigem RSchild. Geschichte meines Lebens. 12 Bände. - Eduard und Elisabeth. 3 Bde. - Vermischte Schriften. 1 Bd. - Gesammelte Briefe. Ausgewählt v. Enrico Straub. 2 Bde. - Die bislang einzige textlich verläßliche, erste vollständige deutsche Ausgabe der Memoiren mit ausführlichen erläuternden Anmerkungen, Generalregister, mehreren Essays zu Autor und Werk sowie reizvollen Illustrationen nach Bildern des 18. Jahrhunderts. Die Memoiren Casanovas zusammen mit weiteren Werken und Briefen in einem sehr schönen, wohlerhaltenen Exemplar der Ganzlederausgabe, nur am Rücken teils ganz gering berieben oder m. winzigen Fleckchen. gr.

      [Bookseller: Antiquariat Düwal]
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        Pour Daniel-Henry Kahnweiler.Umschlag mit einer Orig.-Lithographie von Pablo Picasso.

      Hatje,Stuttgart 1965 - Herausgegeben von Werner Spies. Stuttgart, Hatje 1965. Mit zahlreichen Abbildungen und Faksimiles sowie 8 Original-Lithographien auf Tafeln. 4°. 311 S., 1 Bl. Orig.-Leinen mit illustr. Schutzumschlag. Umschlag mit einer Orig.-Lithographie von Pablo Picasso. Im Schuber.-Festschrift zum 80. Geburtstag des berühmten Kunsthändlers. - Eins von 800 Exemplaren (Gesamtauflage: 1000 Expl.).Erste Ausgabe. - Die Original-Lithographien von Picasso (2), Elie Lascaux, André Beaudin, André Masson, Suzanne Roger, Eugène de Kermadec, Yves Rouvre und Sebastien Hadengue. - Textbeiträge u. a. von Theodor W. Adorno, Otto Benesch, Max Bense, Wilhelm Boeck, Jean Cassou, Aimé Césaire,Arnold Gehlen, Will Grohmann, Alfred Hentzen, André Malraux, Francis Ponge, Jacques Prévert, Raymond Queneau, John Rewald, Jaime Sabartés, Patrick Waldberg [Attributes: Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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