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Displayed below are some selected recent viaLibri matches for books published in 1966

        Assez

      Les éditions de minuit. First edition of 662 numbered copies on vélin cuve B.F.K. de Rives, this one of 100 hors commerce copies.Autograph inscription from Samuel Beckett to Ludovic Janvier and his wife.A good copy. Les éditions de minuit Paris 1966broché

      [Bookseller: Librairie Le Feu Follet]
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        Heinrich von Ofterdingen. Das Märchen. [Radierungen von Fritz Kreidt. 6. Druck der Rohse-Presse.]

      Gold- und blindgeprägter, blauer Ledereinband, Schuber, 8, 95 [2] S., zahlreiche Stiche, unbeschnitten -tadelloses Exemplar. "Auflage 125 Exemplare, Handsatz Korpus Garamond-Kursiv, Druck der Radierungen von den Original-Platten, Einband Christian Zwang, Hamburg 1966. Exemplar Nummer 40." Von Fritz Kreidt Impressum signiert.

      [Bookseller: Antiquariat Atlas]
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        Der samtene Conon Melody. - Typoskriptdurchschlag mit einigen handschriftlichen Korrekturen und Ergänzungen. Vom Autor am Ende signiert. 11 S. Mit einem kurzen Begleitbrief in roter Tinte

      (ca. ) 1966 - 4°. Mit schwarzer Tinte korrigierter Typoskriptdurchschlag. Persiflage auf Flemings James Bond Romane. Der Geheimagent Conon Melody, ein schwarzer Amerikaner erhält von seiner Regierung den Auftrag zur Rettung der Welt vor den bösen Chinesen, die durch die Entführung der Tochter eines deutschen Wissenschafters in den Besitz einer Geheimmaschine gelangen wollen. Es kommt wie es muss. Im Begleitbrief an Bernhard Höke schreibt Chotjewitz: "dies ist der Text den ich zusammen mit KP. Brehmer gern bei edition et machte." - Gedruckt erschien der Text nicht in der edition et sondern, stark gekürzt, in "Die Insel. Erzählungen auf dem Bärenauge" 1968 bei Rowohlt.

      [Bookseller: Daniel Thierstein]
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        An Impression of Autumn a landscape panorama

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Bell Jar, The

      First Edition thus London Faber & Faber 1966 First Printing under the author's name. Small 8vo; [4], 258pp. Publisher's black cloth, spine lettered in gilt (still brilliant); illustrated dust jacket priced at 25s. A Very Fine copy, square, tight and unmarked, in a Fine jacket. Often identified as the second edition, this is, in fact, the third, the second being a reissue by Heinemann under its Contemporary Fiction imprint, still bearing the pseudonym 'Victoria Lucas,' in 1964. Fine ¶ Plath's only novel, this roman à clef was published just one month before her suicide under the pseudonym Victoria Lucas. It "provides a savvy critique of gender and class relations in Cold War America, a psychological journey through illness and recuperation, a complex exploration of female identity . . . Although Plath dismissed the book as a 'potboiler' when describing it to her mother, probably because she knew it would hurt her mother's feelings, she felt excited while writing it, and it remains an impressive achievement today." (Lit. Encyclopedia) Note: With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd.]
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        THE PALACE OF NESTOR AT PYLOS IN WESTERN MESSENIA. 3voll.

      Princeton University Press, 1966. 3 grandi volumi in ottime condizioni, copertina rigida con sovracoperta, lievi abrasioni sulla sovracoperta del vol.1.2 e lievi fioriture sul dorso del 1 volume1.1 - Text. 440 pag.1.2 - Plates. Illustrato b / n2 - The Frescoes. 250 pag. + numerose tavole b / n e a colori

      [Bookseller: Messinissa Libri]
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        Fancy on a Bach Air for solo cello. Autograph musical manuscript signed. Undated, but 1966. The complete work....

      1 page. Oblong folio, 280 x 420 mm. Notated in pencil on light green 16-stave printed Aztec XX-16 music paper, with music encompassing both bass and soprano clefs, mostly unbarred. Signed at upper right, with autograph titling, "Fancy on a Bach Aria," at head, and tempo ("Largo") and metronome marking (". = ca. 48-56") at upper left. With ("ca 5:30") at conclusion, indicating that the piece is approximately 5 minutes and 30 seconds in length. Commissioned by Judy and Robert Goldberg and first performed by Yo-Yo Ma at the New England Conservatory of Music in Boston on August 24, 1997. "The American John Corigliano continues to add to one of the richest, most unusual, and most widely celebrated bodies of work any composer has created over the last forty years. Corigliano's scores, now numbering over one hundred, have won him the Pulitzer Prize, the Grawemeyer Award, four Grammy Awards, and an Academy Award ("Oscar") and have been performed and recorded by many of the most prominent orchestras, soloists, and chamber musicians in the world. naxos.com. "My 'Goldberg Variation,' Fancy on a Bach Air, is for unaccompanied cello. It transforms the gentle arches of Bach's theme into slowly soaring arpeggi of almost unending phrase-lengths. Its dual inspiration was the love of two extraordinary people and the solo cello suites of a great composer - both of them strong, long-lined, passionate, eternal, and for me, definitive of all that is beautiful in life." johncorigliano.com....

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        Maschinengeschriebener Brief mit handschriftlichen Ergänzungen in deutscher Sprache an Bernhard Höke.

      New York, (s.d. ca. April ) 1966 - 21,5 x 28 cm. 1 S. Begleitbrief in gebrochenem Deutsch von Paik zu seinem Beitrag für die geplante Anthologie "Spielpläne" in der "edition et". Er bittet Höke um Entschuldigung für die verspätete Zusendung seines Manuskripts für die Anthologie. "Meine diese Arbiet (sic,) ist ziemlich delikat es wird nicht populaer sein, aber hoffe, einige zarte Menschen daran sympathie findet Mein Titel: Spiel Panne." Paik bittete Höke um einen Vorschuss von $ 20 für seine Kosten für "40 Photo Kopien an New York public Library" für seinen nächsten Beitrag (wahrscheinlich "The first 'snapsshots' of Mars", die in "et2" erschien.

      [Bookseller: Daniel Thierstein]
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        schmits abreisskalender. - Maschinengeschriebener Brief mit rückseitiger Tuschzeichnung. Signiert.

      - 21 x 21 cm. Tomas Schmit Archiv # 44. - Projektentwurf in Briefform an "lieber herr grützmacher, höke bester". Gibt genaue Angaben zur Produktion eines Abreisskalenders, der im Jahreszyklus bis ins Jahr 2330 verwendet werden kann, "statt mit 365 tagesblättern mit 365 jahresblättern. damit wir uns mal das zeitempfinden zb von fliegen vorstellen können." Das Projekt ist im Archiv nur in Form einer Notiz von Schmit erwähnt. - Vorderseite mit dem roten Eingangsstempel der edition et vom 2. April 1966.

      [Bookseller: Daniel Thierstein]
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        Maschinengeschriebener Brief, signiert, datiert mit einer handschriftlichen Unterstreichung im Text an edition et.

      Frankfurt, Fischbacher Strasse 8, 12, Oktober 1966 - 21 x 26 cm. 1 Seite. Roehr bedankt sich für die Einladung der Herausgeber der edition et zur Beteiligung an "et" und schickt 9 Blätter zur Auswahl "und ich denke für diesen Zweck geeignet". - Bernhard Höke übernahm in der Folge für et2, et3 und et4 jeweils eine Arbeit von Roehr. - Mit rotem "Eingang"-Stempel der edition et. Gelocht.

      [Bookseller: Daniel Thierstein]
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        Opus 50.) - Place the palms of your hands side. Typoskript. 1 Seite.

      (ca. ) 1966 - 21 x 15 cm. The Fluxus Performance Workbook by Dylan Kinnett S. 14. - Fondazione Bonotto O666E. - Handlungsanweisung.

      [Bookseller: Daniel Thierstein]
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        'You Only Live Twice' (released through United Artists). Six original photographs for 'Cinema 66' magazine.

      n.d. [25th August 1966]. Six original black and white photographs of Sean Connery as James Bond, taken on location in Japan during the filming of Ian Fleming's You Only Live Twice. Three photos capture a relaxed Connery in full Japanese costume, in between takes. The other three photos were taken on the actor's 36th birthday, which took place on set; one shows Connery in the daytime wearing a simple fisherman's costume whilst cutting a cake, and the remaing two show him at an evening party, with 'Happy Birthday' banners, dancing in a Kimono. Director Lewis Gilbert appears in two of the images, as does the Assistant Director Bill Cartlidge. Many thanks to John Gilbert, son of Lewis Gilbert, for assisting this cataloguer (Jon Gilbert) in person on 12th June 2012. Approx. dimensions 30 x 24cm. Fine condition. These are FILE images, taken for a French film magazine 'Cinema 66', and bear the Italian photographer's credit 'Copyright Pierluigi' to the verso. Each print also bears the distributor's stamp 'APIS - PARIS' and has an extensive text on the rear, typed in French. These were obtained when the archives of the publication were dispersed; it is most likely these are the only such prints, the negatives for which are likely no longer in existence. Quite possibly a unique set of images, from the vintage, Golden-era of the cinematic James Bond. Sold without copyright.

      [Bookseller: Adrian Harrington]
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        Handgeschriebener signierter Brief mit roter Tinte, an die Herausgeber der edition et.

      Providence R.I. USA, April 1966 - 13,2 x 22,9 cm. 2 Seiten. Wahrscheinlich der Beginn der Geschäftsbeziehung zwischen der edition et und Dieter Roth. Roth wurde, wie alle anderen Künstlern mit einem Rundschreiben zur Mitarbeit für "et" eingeladen. Er bedankt sich, nach der Anrede bei den "Liebe Leute, . ihr müsst aber besser und genauer schreiben, alles besser und genauer beschreiben, preise, honorare, garantien. das hört sich spiessig an, aber solche einladungen wie eure bekomme ich oft, und bin so oft reingefallen (.) wenn ihr meine freunde wärt, würde ich euch was schenken". Er verwehrt sich gegen die Hunderten, die sich fast alle als Feinde = Aussauger entpuppten. - Mit dem Absenderstempel, undatiert aber mit dem Eingangsvermerk der edition et vom 28.4.66.

      [Bookseller: Daniel Thierstein]
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        The Great Polyglot Bibles. A Treatise.

      Folio in original paper portfolios preserved in cloth box. Illustrated with decorations taken from the Complutensian Bible and other early C16th Spanish books. Box with a light dampstain, internally fine. First edition of this treatise, limited to 400 copies each with an original page from the first Polyglot Bible, the Complutesian Of Acala 1514-17. Printed by the Allen Press An attractively produced leaf book with letterpress essay on several editions of Polyglot Bibles, with the original leaf from the Complutensian of Acala, printed in 6 volumes from 1514-17. The fine leaf is printed with Latin, Greek and Hebrew typefaces in four columns and two smaller rectangles. The essay also reproduces many woodcuts from the Polyglot Bibles.

      [Bookseller: Henry Sotheran Ltd.]
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        Mice all Over

      G. T. Foulis & Co. Ltd, 1966. Hardcover. Good. 1966. 121 pages. No dust jacket. Brown cloth with gilt lettering. B&W photographs throughout. Clean pages. Noticeable foxing to page edges. Mild wear to spine, board edges and corners. Small pale marks (approx. 1cm) all over boards.

      [Bookseller: The World of Rare Books]
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        Hochhaus Südturm, Wienn. - Folge von 4 Originalübermalungen mit Schwarzstift auf 4 s/w Fotopostkarten.

      (ca. ) 1966 - je 10,5 x 14,5 cm. Originalzeichnungen, entstanden im Zusammenhang mit der Arbeit an seinem Traktat "Schwarze Architektur" für O. M.Ungers an der TU Berlin, das im gleichen Jahr gedruckt erschien. Die vorliegende Arbeit wurde darin aber nicht abgedruckt. Das 1953 - 1957 erbaute Hochhaus Südturm war das erste Hochhaus der Stadt Wien. Arnulf Rainer hatte zusammen mit Markus Prachensky bereits 1958 ein "Manifest über die Architektur mit den Händen" veröffentlicht. Rainers "Übermalungen, Überbauungen, Zubetonierungen oder Überdeckungen beschleunigen den allmählichen Vorgang der Umkippung vorhandener Baukunst. Durch die Tarnung militärischer Bauten, der Bunkerarchitektur, der Einrüstung und Verschalung, Verschachtelung wie auch durch die Abenddämmerung treten sie mit ihren Erscheinungen der Zuschließung ans Licht der Öffentlichkeit. Arnulf Rainer hat seinen phantastischen Zeichenstil verlassen und begibt sich auf die Suche nach neuen Horizonten, so unbeholfen wie schizophren" (Otto Breicha in Arnulf Rainer, Hirndragn, Salzburg Galerie Welz 1980).

      [Bookseller: Daniel Thierstein]
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        Arp

      First Edition, one of 50 copies hors commerce numbered on Rives vellum numbered and justified by the author, print head. Our specimen, like all works of leading copies is full of 4 original color linocuts of Hans Arp. Hans Arp signatures on each of 4 linocuts. Signature Gaston Puel to the justification of the draw. Rare and very nice copy. Gaston Puel Veilhes 1966 14x17cm en feuilles

      [Bookseller: Librairie Le Feu Follet]
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        [The Raj Quartet, comprising] The Jewel in the Crown; The Day of the Scorpion; The Towers of Silence; [and] A Division of the Spoils

      London William Heinemann [through 1971] 1966 A scarce, complete set in collectible condition of Scott's celebrated quartet, set during the concluding years of the British Raj, in four octavo volumes. [10],450,[2]; [8],483,[1]; [10],3-392; [10],3-597,[3]pp. Jewel: Publisher's copper-colored cloth, spine lettered in gilt; pictorial dust jacket, priced 30s. About Fine (dust-soiled top edge, spine toe creased, else tight, bright, clean and strong) and apparently unread in about Near Fine jacket (spine panel lightly faded, with tips briefly worn). Scorpion: Publisher's black cloth, spine lettered in gilt; pictorial dust jacket, priced 42s. Fine, in Near Fine jacket, very lightly edge-worn, with short closed tear along back flap fold. Towers: Publisher's navy-blue cloth, spine lettered in gilt; pictorial dust jacket priced £2.75. Fine (save for a previous owner's surname on front fly leaf), in a just about Fine jacket, lightly edge worn. Spoils: Publisher's chestnut-brown cloth, spine lettered in gilt; pictorial dust jacket priced £4.90. Fine (save for previous owner's inscription in a neat hand on front fly leaf), in Fine jacket. Scott's "painstakingly researched Quartet which examines the lives of ordinary Anglo-Indians against the background of the end of Empire [the five years from the Quit India campaign of the Congress Committee to Indian independence, in 1947]. These novels constitute Scott's principal claim to be regarded as a major post-war writer [The Times, in fact, called Scott's quartet "one of the most important landmarks of post-war fiction."] . . . . The Quartet is still perhaps underestimated as an analysis of the pre-Independence roots of the racism Salman Rushdie identified in the 1980s under the label 'the New Empire within Britain.' Scott sacrificed his life to the writing of the Quartet, becoming something of a monomaniacal recluse with tendencies toward alcoholism and occasional domestic violence. His death from cancer, in 1978, in London came at the time his work was just beginning to be appreciated." (The Literary Encyclopedia) TN. B. With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd.]
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        an object to use. - Tpyoskript auf Selbstklebeetiketten. 1 Seite mit 10 Etiketten (2,5 x 5 cm).

      (ca. ) 1966 - 14 x 11,5cm. Fondazione Bonotto FX 1369. dort als "Part of Opus 16. The Private Secretary in diary No. 2, No. 0669" bezeichnet und mit 9 Etiketten und ein 2. Exemplar mit 6 Etiketten.

      [Bookseller: Daniel Thierstein]
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        Yoko Ono at Indica: Unfinished Paintings and Objects by Yoko Ono [Signed and Dated 1967 by Yoko Ono]

      London: Indica Gallery, 1966. Paperback. Exhibition catalog of the Ono show where John Dunbar introduced Ono to Lennon. Signed and dated by Ono on the inside of the front wrap below her portrait thus: Yoko Ono/at Kistche[?] '67. Wraps a bit rubbed with some light creasing at the spine. All of the adhesive backed photos are present and some have been affixed to their corresponding pages. Nice copy of of the catalog documenting this groundbreaking exhibition, and the first one we've seen signed. Very good.

      [Bookseller: Kenneth Mallory, ABAA]
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        COME OVER TO MY HOUSE

      - [SEUSS,DR]. COME OVER TO MY HOUSE by Theo Le Seig. NY: Random House (1966). 8vo, glazed pictorial boards, fine in very slightly worn dust wrapper with a few margin mends. 1st edition. (based on price and ads). Written by Seuss as Le Seig, illustrated in color by Richard Erdoes. Very hard to find. Younger / Hirsch 14. [Attributes: First Edition; Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        [Moïse sauvé des eaux] Then the daughter of Pharaoh opened the arke, and saw it was a childe (Et la fille du Pharaon ouvrit l'arche et vit que c'était un enfant) - The Story of Exodus

      Original lithograph in colors printed on Imperial Japanese paper.Superb and rarisime etching print on japan paper made for The Story of Exodus published in 1966 (20 copies on Imperial Japan and 250 lithographs on Arches paper). AMIEL Léon Paris,New-York 1966 36x49.5cm une feuille

      [Bookseller: Librairie Le Feu Follet]
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        Assez

      Les éditions de minuit. Edition originale, un des 100 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 512 autres B.F.K. de Rives.Precious copy inscribed and dated April 1966 by Beckett to his friend the painter Geer (Van Velde) and his wife Lise.Nice copy."What to say of the sliding planes, the shimmering contours, the cut-out figures in the fog, the balance that any little thing can break, breaking and re-forming themselves under our very eyes? How to talk about the colors that breathe and pant? Of the swarming stasis? Of this world without weight, without force, without shadow? Here everything moves, swims, fells, comes back, falls apart, re-forms. Everything stops, non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature" (The van Veldes' Art, or the World and the Trousers, in Cahiers d'Art n°11-12, Paris 1945).Beckett here is not talking - despite how it may appear - about his literary oeuvre, but about the paintings of Geer Van Velde, going on to add a few lines later "[Bram] Van Velde paints distance. G[eer] Van Velde paints succession." This elegy, published on the occasion of the double exhibition of the Van Veldes (Geer at Maeght's and Bram at the Galerie Mai) is the first important text on these painters, more or less unknown to the public at the time: "We've only just started spouting nonsense about the Van Velde brothers, and I'm the first. It's an honor." This is also the first critical text written directly in French by a young Irish writer who had not, as yet, published anything in France.Thus, the first and most important of Beckett's writings on art, composed at the dawn of his literary career, establishes - right from the start - a fundamental relationship between his developing work and his friends' art: "Thus this text has often been read in a hollow or in the mirror, as one of the rare designations of Beckett's poetry (to come) by the man himself, a sort of anamorphic program of writing," (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar).A real statement of dramaturgical intent, this fundamental text whose introspective value Beckett lays out from the introduction on ("one does nothing but tell stories with words") ushers in the writer's most fruitful creative period. In essence, like Apollinaire and Cendrars, Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through "the deepest questioning of narrative, figurative or poetical presuppositions" (Pascale Casanova in Beckett l'abstracteur).The major influence of modern painting on the narrative structure - or destructuring - of Beckett's drama and novels would be pointed out and examined by a number of thinkers, among them Gilles Deleuze, Julia Kristeva and Maurice Blanchot. It was, in fact, with the art of the Van Veldes (first Geer then Bram) that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot, since: "the set must come out of the text without adding anything to it. As for the visual comfort of the audience, you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set, or see anything other than him?" (Letter to Georges Duthuit, 1952).When he met Geer in 1937, "Beckett was going through a major existential crisis and had just been reworking his first novel, Murphy, which had been rejected by a great many publishers. He was lost in alcohol, leaving Ireland and moving once and for all to Paris" (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). He returned from a long artistic journey in Germany, where he was marked by classical works as well as contemporary art - it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating the Moon, his source for Waiting for Godot.Art was thus at the heart of his creative thinking and the friendship that would tie him to Geer and later his brother Bram and their sister Jacoba (with whom his relationship may have been more than merely friendly), and which would profoundly influence his life and writing. His first writing on art is a short piece on Geer Van Velde, whose works he pressed on his new lover Peggy Guggenheim when she set up her new London gallery. Despite the relative failure of the exhibition (which followed Kandinsky's), he got his friend a one-year scholarship from Peggy. James Knowlson even thinks that "if Beckett maintained close links with Peggy for a long time, it was first and foremost because she could be convinced to give his artist friends a serious helping hand, starting with Geer Van Velde" (in Beckett, p. 474). Enigmatic, the little piece that Beckett wrote at the time at Peggy's request already contained a dramaturgical kernel of thought: " Believes painting should mind its own business, i.e. colors. i.e no more say Picasso than Fabritius, Vermeer. Or inversely."   Slower to develop, his friendship with Bram and interest in the latter's painting slowly changed Beckett's outlook on Geer's art and when, ten years after his first meeting the brothers, he wrote The World and the Trousers,  Beckett brought up to date a duality symbolized by the title, taken from an anecdote given as a legend to the article. The world is the "imperfect" work of God, made in six days, to which the tailor compares the perfection of his trousers, made over six months.The link between this anecdote and the Van Velde brothers is perhaps to be found in the second essay Beckett devoted to them, in 1948, Peintres de l'empêchement [Painters of the Problem] (Derrière le miroir n° 11/12) : "One of them said: I cannot see the object in order to represent it because I am who I am. There are always two sorts of problems - the object-problem and the 'eye-problem... Geer Van Velde is an artist of the former sort... Bram Van Velde of the latter."Resistance of the object or impotence of the artist, this tale, the "true primary narrative core in kôan zen form," (P. Vilar) would later find itself scattered throughout Beckett's work and would more specifically take centre stage in Endgame, whose similarity, by the by, with the art of Geer Van Velde was noted by Roger Blin. "At the time, he was friends with the Dutch brothers Geer and Bram Van Velde, both painters. Geer was a painter in the style of Mondrian. I have the feeling that Beckett saw Endgame as a painting by Mondrian with very tidy partitions, geometric separations and musical geometry," (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    Beckett's growing affinity for Bram Van Velde's work and the energy he put into promoting his work, especially to the galerie Maeght or his friend the art historian Georges Duthuit, was no doubt to the detriment of his relationship with Geer. Nonetheless, despite some misunderstandings, their friendship remained unbroken; as did the silent but anxious dialogue that the writer maintained with the art of the younger Van Velde brother, two of whose large canvases he owned. "The big painting by Geer finally gave me a sign. Shame that it should have turned out so badly. But perhaps that's not true after all" (letter to Georges Duthuit, March 1950). "Geer shows great courage. Ideas that are a little cutting, but maybe only in appearance. I have always had a great respect for them. But not enough, I think" (letter to Mania Péron, August 1951)The death of Geer Van Velde in 1977 affected Beckett deeply and coincided with a period of intense nostalgia during which the writer decided to give himself over to "a great clear-out" of his house so as to live between "walls as grey as their owner." Confiding his state of mind to his friend, the stage designer Jocelyn Herbert, Beckett bore witness to the indefatigable affection he had nurtured for the painter over forty years: "more canvases on display, including the big Geer Van Velde behind the piano."A precious witness to the friendship of these fellow travelers who had, ever since checking the veracity of the game of chess played by Murphy and Mr. Endon for Beckett's first novel, tackled together the great challenges of modernity: "It's that, deep down, they don't care about painting. What they're interested in is the human condition. We'll come back to that" (Beckett on the Van Velder brothers in The World and the Trousers).Spine lightly sunned as usual for Molloy and L'Innomable, a tiny tear (not serious) to foot of spine of the latter.  Les éditions de minuit Paris 1966 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Tratados [Treatises]

      México, D.F.: Fondo de Cultura Economica, 1966. This is a scarce limited edition of the facsimile printing of the work, 'Treatises," commemorating the 400th anniversary of the author´s death. From the series, Cronistas de Indias. No. 131 of 300 numbered copies. Copyright page states first edition 1965 but colophon page states 3 January 1966. Complete in two volumes. NOT ex-library. In Spanish, not in English, save for several pages of forewords in English and one treatise mostly in Latin. Printed and bound in Mexico. Cherry red polished calf, with crisp gilt-stamped lettering and decorative rulings to the hubbed spines. Generally unbumped spine heads and tails, and with sharp corners. Bindings unsoiled and quite attractive. A hint of shelf pull to the lower edges of the boards. 8.75 x 5.75 inches. [22 x 15 cm.] Text blocks firmly bound in. All page edges deckled to a handsome effect. The pastedowns and FEPs in marbled paper of reds, greens and grays. With lxxxvii, 641 and 643-1377 numbered pages. With appendixes and general index. Pages unopened, as issued; i.e., the folding edges of the component sections are still intact at the top and fore-edges, not having been cut. As noted, a facsímile edition, with the facsímile pages on the versos and the transliterations on the opposite rectos. Also with handsomely decorated title pages and embellished capitals throughout, all in B&W. Each volume with a silk satin ribbon page marker. Slipped in is a signed presentation card from sponsor and writer of the foreword, G. Bruno Pagliai. No inscriptions, signatures, labels, bookplate, underlining, highlighting, or other marks observed. Slightest age toning to margins of all pages of both volumes, quite minor. A remarkably clean set of two volumes and a handsome addition to any library shelf on New Spain or the Indians of the Americas. A Very Good Plus copy. These nine inflammatory treatises first appeared, unauthorized, in printed form in Seville, Spain in 1552. All except one appeared in the popular Spanish language and not in the more universal and scholarly Latin. Much has been written on the life and works of the highly controversial Fray Bartolomé de las Casas [1484-1566]. He was a 16th-century Spanish historian, social reformer and Dominican friar. He became the first resident Bishop of Chiapa, and the first officially appointed "Protector of the Indians." As noted in Wikipedia and elsewhere, his extensive writings, the most famous being "A Short Account of the Destruction of the Indies" and "Historia de Las Indias," chronicle the first decades of colonization of the West Indies and elsewhere in the Americas, and focus particularly on the atrocities committed by the colonizers against the indigenous peoples.. First Edition. Full-Leather. Very Good Plus/No Jacket. 8vo - over 7¾" - 9¾" tall. Limited Edition.

      [Bookseller: Marc Sena Carrel]
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        Sammlung von 13 handgeschriebenen, collagierten und zum Teil übermalten Briefumschläge an die edition et Berlin.

      - 1966 - Die Couverts mit verschiedenen Absendern: Reykiavik, Providence, Schloss Stockau. 9 Umschläge meist in Air Mail Standard Briefumschlägen. 4 Grossbriefumschläge mit Zeichnungen, Collagen und Übermalungen, die jeden davon zu einem Kunstwerk machen. -

      [Bookseller: Daniel Thierstein]
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        Praxis. A Philosophical Journal. Jahrgang 1966 bis 1972 in 17 Heften Die einzelnen Essay in Englischer, Französischer und Deutscher Sprache.

      Academy of Science. 1966-1970., Zageb, - 24 x 15 cm. ca. 200 S. pro Heft. Kartoniert. / Soft cover. Einbände vereinzelt bestossen, Fingerfleckig Eingestaubt. . Gelber Karton teilweise verblichen. Insgesamt noch gute Exemplare. Sprache: en. * Versandfertig innerhalb von 20 Stunden! * Internationale Zeitschrift für Philosophie. Für den Kenner der besondere Leckerbissen. In dieser Vollständigkeit einzigartig. Zustand zweitrangig. Jo7 (MGT). [Attributes: Soft Cover]

      [Bookseller: Umbras Kuriositätenkabinett]
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        Cavalcanti Poems

      Volume stampato con caratteri Dante su pressa a mano dell'Officina Bodoni di Verona per James Laughlin, Faber and Faber, Vanni Scheiwiller e Giovanni Mardersteig. L'edizione consta di 190 esemplari su carta Pescia, di cui i numeri da 1 a 115 per la vendita negli Stati Uniti, i numeri da 116 a 165 in Gran Bretagna ed i numeri da 166 a 190 in Italia. Sono state inoltre stampate 10 copie su carta Japan numerati con le lettere da A a J. Tutte le copie sono firmate dall'Autore . Cm 29,5 x 19,5. 108. Perfetto (Mint). Prima ed. di 190 es. numerati e firmati dall'A.

      [Bookseller: Studio Bibliografico Marini]
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