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

        Aesthetica in nuce

      Scheiwiller - Officina Bodoni, 1966. Edizione per il centenario di Benedetto Croce, a cura di Giovanni Mardersteig. Con una fotografia di Hebert List del 1949 e una bibliografia a cura dell'editore . 8vo. pp. 52. Perfetto (Mint). Edizione originale di 200 es. numerati.

      [Bookseller: Studio Bibliografico Marini]
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        Assez

      Les éditions de minuit, 1966. - Les éditions de minuit, Paris 1966, 14,5x19,5cm, broché. - 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. Précieux envoi autographe daté d'Avril 1966 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Agréable exemplaire. - [FRENCH VERSION FOLLOWS] 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. Précieux envoi autographe daté d'Avril 1966 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Agréable exemplaire. « Que dire de ces plans qui glissent, ces contours qui vibrent, ces corps comme taillés dans la brume, ces équilibres qu'un rien doit rompre, qui se rompent, et se reforment à mesure qu'on regarde ? Comment parler de ces couleurs qui respirent, qui halètent ? de cette stase grouillante ? de ce monde sans poids, sans force, sans ombre ? Ici tout bouge, nage, fuit, revient, se défait, se refait. Tout cesse, sans cesse. On dirait l'insurrection des molécules, l'intérieur d'une pierre un millième de seconde avant qu'elle ne se désagrège. C'est ça la littérature. » (La Peinture des van Velde ou Le monde et le pantalon, in Cahiers d'Art n°11 - 12, Paris 1945)   Beckett ne parle pas ici, malgré les apparences, de son œuvre littéraire mais de la peinture de Geer Van Velde, ajoutant quelques lignes plus loin : « [Bram] Van Velde peint l'étendue. G[eer] Van Velde peint la succession. » Cet éloge, publié à l'occasion de la double exposition des Van Velde, Geer chez Maeght et Bram à la galerie Mai, est le premier texte d'importance sur ces peintres alors à peu près inconnus du public : « On ne fait que commencer à déconner sur les frères Van Velde. J'ouvre la série. C'est un honneur. » Il est aussi le premier texte critique écrit directement en français par un jeune écrivain irlandais qui n'a encore jamais publié en France. Ainsi, le premier et plus important écrit sur l'art de Beckett, composé à l'aube de sa carrière littéraire, instaure, dès l'origine, une relation fondamentale entre son œuvre en gestation et la peinture de ses amis : « Aussi a - t - on souvent lu ce texte en creux, ou en miroir, comme une des rares désignations de la poétique (à venir) de Beckett par lui - même, une sorte de programme anamorphique d'écriture » (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique par Pierre Vilar) Véritable déclaration d'intention du dramaturge, ce texte fondamental - dont Beckett confesse dès l'introduction la valeur introspective : « avec les mots on ne fait que se raconter » - inaugure la période créatrice la plus fructueuse de l'écrivain. En effet, à l'instar d'Apollinaire et de Cendrars, Beckett puise dans les problématiques artistiques de ses contemporains le ferment de son écriture à venir par « la mise en cause la plus profonde des présupposés narratifs, figuratifs ou poétiques. » (Pascale Casanova in Beckett l'abstracteur) L'influence majeure de la peinture moderne sur la structure - ou déstructuration - narrative du théâtre et des romans de Beckett sera révélée et analysée par de nombreux penseurs, dont Gilles Deleuze, Julia Kristeva ou Maurice Blanchot. C'est justement à partir de la peinture des Van Velde, de Geer, puis de Bram, que Beckett formalise cette volonté de traduire la question picturale en dramaturgie. Ainsi refuse - t - il les décors de Nicolas de Staël pour En attendant Godot car : « Il faut que le décor sorte du texte, sans y ajouter. Quant à la commodité visuelle du spectateur, je la mets là où tu penses. Crois - tu vraiment qu'on puisse écouter devant un décor de Bram, ou voir autre chose que lui ? » (Lettre à Georges Duthuit, 1952). Lorsqu'il rencontre Geer en 1937, « Beckett traverse une crise existentielle majeure, il vient de remodeler son premier roman Murphy, refusé par un grand nombre d'éditeurs, il sombre dans l'alcoolisme, quitte l'Irlande et s'installe définitivement à Paris » (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). Il revient d'un long voyage artistique en Allemagne où il s'est imprégné d'œuvres classiques et d'art contemporain - c'est lors de ce voyage qu'il découvre les Deux hommes contemplant la lune de Caspar David Friedrich, à l'origine de En attendant Godot. L'art est alors au cœur de sa réflexion créatrice et l'amitié qui va le lier à Geer puis plus tard à Bram et à leur sœur Jacoba (avec laquelle il entretint peut - être une relation plus qu'amicale) va profondément influencer sa vie et son écriture. Son premier écrit sur l'art est une courte notice sur Geer Van Velde dont il impose les œuvres à sa nouvelle amante Peggy Guggenheim à l'occasion de la création de sa galerie londonienne. Malgré l'échec relatif de l'exposition (qui suit celle de Kandinsky), il obtient de Peggy une bourse d'un an pour son ami. James Knowlson avance même que « si Beckett a longtemps gardé des liens étroits avec Peggy, c'est d'abord et avant tout parce qu'elle était susceptible de donner un sérieux coup de pouce à ses amis artistes, à commencer par Geer Van Velde. » (in Beckett p. 474) Enigmatique, la petite note que Beckett rédige alors à la demande de Peggy contient déjà en germe la pensée du dramaturge : « Believes painting should mind it on business, i.e. colours. i.e no more say Picasso than Fabritius, Vermeer. Or inversely.  » (« Pense que la peinture devrait se mêler de ses propres affaires, c'est - à - dire la couleur, c'est - à - dire pas plus de Picasso que de Fabritus ou Vermeer. Et inversement. »)   Plus lents à croître, son amitié pour Bram et son intérêt pour sa peinture modifient peu à peu le regard de Beckett sur la peinture de Geer et lorsque, dix ans après sa première rencontre avec les frères, il écrit Le Monde et le Pantalon, Beckett met à jour une dualité symbolisée par ce titre tiré d'une anecdote placée en exergue de l'article. Le monde, c'est l'œuvre « imparfaite » de Dieu créé en six jours à laquelle le tailleur oppose la perfection de son pantalon achevé en six mois. La relation entre cette anecdote et les frères Van Velde est peut - être à chercher dans le second essai que Beckett leur consacre en 1948, Peintres de l'empêchement (Derrière le miroir n° 11/12) : « L'un d'eux dira : Je ne peux voir l'objet, pour le représenter, parce qu'il est ce qu'il est. L'autre : je ne peux voir l'objet, pour le représenter, parce que je suis ce que je suis. Il y a toujours ces deux sortes d'empêchement, l'empêchement - objet et l'empêchement - œil. [...] Geer Van Velde est un artiste de la première sorte [...], Bram Van Velde de la seconde. ». Résistance de l'objet ou impuissance de l'artiste, cette fable, « véritable noyau narratif premier en forme de kôan zen » (P. Vilar), se retrouvera ensuite dispersée dans l'ensemble de l'œuvre de Beckett et occupera plus particulièrement une place centrale dans Fin de Partie, dont Roger Blin, note par ailleurs la similitude avec l'œuvre de Geer : « Il était ami à cette époque des frères Geer et Bram van Velde, hollandais et peintres tous deux. Geer était un peintre dans la lignée de Mondrian. J'ai le sentiment que Beckett voyait Fin de partie comme un tableau de Mondrian, avec des cloisons très nettes, des séparations géométriques, de la géométrie musicale. » (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    L'affinité grandissante de Beckett avec l'œuvre de Bram Van Velde et l'énergie qu'il dépense pour défendre son travail, notamment auprès de la galerie Maeght ou de son ami, l'historien d'art Georges Duthuit, se feront sans doute aux dépens de ses relations avec Geer. Cependant, malgré quelques malentendus, leur amitié ne sera jamais rompue, ni le dialogue silencieux mais agité que l'écrivain entretient avec l'œuvre du petit frère van Velde dont il possédait deux grandes toiles : « Le grand tableau de Geer me fait enfin des signes. Dommage qu'il ait si mal tourné. Mais ce n'est peut - être pas vrai. » (lettre à Georges Duthuit, mars 1950) « Geer dégage un grand courage. Des idées un peu tranchantes, mais peut - être seulement en apparence. Je l'ai toujours beaucoup estimé. Mais pas assez je crois. » (lettre à Mania Péron, août 1951) La mort de Geer Van Velde en 1977 affecte profondément Beckett et coïncide avec une période d'intense nostalgie durant laquelle l'écrivain décide de se livrer à un « grand ménage » dans sa demeure pour vivre entre des « murs gris comme le propriétaire ». Confiant ses états d'âme à son amie, la décoratrice de théâtre Jocelyn Herbert, Beckett témoigne de l'indéfectible affection qu'il porte au peintre depuis  quarante ans : « plus de toiles sous les yeux, y compris celle du grand Geer Van Velde derrière le piano ». Précieux témoignage de l'amitié de ces compagnons de route qui, depuis le premier roman de Beckett pour lequel ils vérifiaient ensemble la vraisemblance de la partie d'échecs opposant Murphy à M. Endon, ont affronté ensemble les grands enjeux de la modernité : « C'est qu'au fond, la peinture ne les intéresse pas. Ce qui les intéresse, c'est la condition humaine. Nous reviendrons là - dessus. » (Beckett à propos des frères Van Velde, in Le Monde et le Pantalon)

      [Bookseller: Librairie Le Feu Follet]
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        Edouard Pignon. 8 Juillet - 15 Octobre 1966. Musée National d'Art Moderne, Paris.

      Musée National d'Art Moderne, 1966. 1 vol. in - 8 oblong br., couv. ill., Musée National d'Art Moderne, Paris, 1966 Exceptionnel exemplaire enrichi d'un dessin original daté de 1968 et signé d'Edouard Pignon : sur deux pages, un cavalier (Don Quichotte ?) sur la page de gauche affronte un coq. Bel exemplaire en parfait état, avec un intéressant dessin unissant le thème des Combats de Coqs et le thème des Batailles, deux thèmes développés par l'artiste durant cette décennie. Français

      [Bookseller: Librairie Du Cardinal]
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        Sam, Bangs & Moonshine

      Henry Holt & Co 1966 - GUARANTEED First Edition -- Stated -- with correct flap price and correct publishing imprint -- Henry Holt -- NOT the Holt, Rinehart Winston or Weekly Reader book club reprints. Library binding in pictorial cloth -- Tight, bright and unmarked -- Not a former library book. Edge worn, chipped, priced ($3.50) jacket. 1967 Caldecott Medal winner. Scarce true first. [Attributes: First Edition; Hard Cover]

      [Bookseller: Picture Book Cottage]
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        Every Building on the Sunset Strip.

      8vo. (140 x 172 mm). Original white wrappers, the spine and front wrapper lettered in silver, preserved in the original silver mylar-covered slipcase; [52]pp., comprised of an accordion folded sheet (760.7 cm. when extended), made up of 9 sections, tipped together and showing 2 continuous friezes of b/w photographs top and bottom; one light crease to the backstrip of the book, a few superficial scratches to the covers of the slipcase, otherwise a very good, bright copy. First edition, second issue. Limited to 5000 copies. This second issue differs from the first, only in that the final image is flush with the edge of the page, previously a printer's error had meant that it over ran. In this, the fourth of Ruscha's books and the first to be devoted to one locale, the artist photographed every building on the north and south sides of Sunset Strip, the part of Sunset Boulevard that extends between Crescent Heights in the east and Doheny Drive in the west, and then joined them together to form one continuous panorama. Aside from identifying intersections and the numbers of buildings Ruscha provides us with no information other than that provided by the signage and billboards photographed along the route. PARR, Martin and Gerry BADGER. The Photobook Vol II. pp. 142-3 (for the first edition); ENGBERG & PHILLPOT. Edward Ruscha Editions 1959-1999. B-4.

      [Bookseller: Henry Sotheran Ltd.]
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        Vanity Dies Hard.

      8vo., original cloth with dust wrapper. A little chipping to wrapper, some spotting to edges and a little foxing to prelims otherwise a very good copy. First edition of the 3rd Ruth Rendell book which is one of her scarcest titles.

      [Bookseller: Henry Sotheran Ltd.]
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        SONETTI DE LA SEMANA Con una introduzione di Giuseppe Apella e sette acqueforti originali di OSSI ( Ossi Czinner )

      GIAN FERRARI, 1966. Cartella editoriale in folio grande (cm. 35 x 45) contenente sette acqueforti di Ossi (in fogli volanti con il sonetto da un lato e l'acquaforte f/t nell'altro) - ( LA NOSTRA COPIA E' MANCANTE DELLA SETTIMA ACQUAFORTE E PROBABILMENTE DELLA COPERTINA DELLA CARTELLA ORIGINALE ) - L'Opera è così composta: (Dedica) "I' ho pensato di far un gioiello" (alla dedica non è stata prevista l' incisione) Lunidie "Quando la luna e la stella dïana" ( sonetto + incisione) Martidie "E 'l martedí li do un nuovo mondo" ( sonetto + incisione) Mercoredie "Ogni mercoredí corredo grande" ( sonetto + incisione) Giovedie "Ed ogni giovedí tornïamento" ( sonetto + incisione) Venerdie "Ed ogni venerdí gran caccia e forte" ( sonetto + incisione) Sabato die "E 'l sabato diletto ed allegrezza" ( sonetto + incisione) Domenica die "Alla dimane, all'apparer del giorno" ( FOGLIO MANCANTE ) Di questo volume sono stati stampati 70 esemplari numerati e firmati dall'Artista, di cui 50 da 1 a 50, 10 da I° a X° e 10 dall' A all' L (la nostra copia è la n° C - Stampato dalla Tipografia "Fabriano" di Gianni Santini. Le Incisioni sono state impresse da Alberto Caprini, stampatore in Roma - Ossi Czinner (Vienna, 1935) - Una pittrice contemporanea, scultrice e litografa, Ossi Czinner allieva di Marcello Mascherini a Roma nel 1946. Dopo il completamento dei suoi studi rimase in quella città e lì inizia a esporre la sua arte. Negli anni successivi l'arte di Czinner (in particolare le sue litografie) sono state regolarmente esposte in città come Parigi, Vienna, Milano, Tokyo, Chicago e New York. La maggior parte delle sue litografie originali sono state stampate in edizioni che vanno da 10 a 200 ex. - Folgóre da San Gimignano, pseudonimo di Giacomo di Michele o Jacopo di Michele secondo fonti diverse (San Gimignano, 1270 - 1332), è stato un poeta italiano. Fu un poeta elegante che rappresentò nei suoi versi scene di caccia, giostre e conviti della ricca borghesia cittadina. Il suo nome (che ha il significato di fulgore, splendore, e si accenta Folgóre) compare in un documento senese del 1295 e altre fonti documentarie ne testimoniano la morte nel 1332. Poco si sa della sua vita, eccetto che combatté come fante, e successivamente come cavaliere, al servizio del suo comune natale. A lui vengono attribuiti trentadue sonetti - scritti fra il 1308 ed il 1316 circa - tra cui molto conosciute sono le due corone dedicate ai giorni della settimana e ai mesi dell'anno.

      [Bookseller: Pegaso3000]
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        Gil Blas de Santillana

      Ediciones Alonso (Madrid, 1966) - Colección Biblioteca de Obras Famosas. Nº 6. 623 p. 13 x 19.5 cm. Buen estado.

      [Bookseller: La Leona LibreRía]
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        Maclean's Magazine, October (Oct.) 1, 1966 - John Garrity Spied for the Canadian Jewish Congress

      Maclean-Hunter Limited, 1966. 56 pages. Features: We are running out of places to bury our garbage; Mental hospitals obsolete in Saskatchewan?; A farewell twitch by BC's Tories; My sixteen months as a Nazi - John Garrity got a 16 month look inside the Canadian Nazi Party - he bugged their meetings, photographed their files, and screened their membership - article with fascinating samples of handbills / tracts - curiously, this work was conducted just before related legislation was passed in Ottawa; The Synthetic Woman - or, how I put on fake hair, eyelashes, nails and a fake figure and found femininity, by Marjorie Harris; And Now... The Synthetic Male, or how I powdered my nose, donned my angora hairpiece and learned to smell more like a man, by Robert Thomas Allen; Is the world ready for Leonard Cohen? - article and great photo; what I learned in a Borneo Classroom, by Manson Toynbee - with many great colour photos; Canada's Kinsey - Dr. Ted Mann, an Anglican priest, began a study of premarital sex on the campus of the University of Western Ontario - when he finished, he was not longer a professor there, by request; Nice colour photo centerfold for Ford's 1967 auto lineup; Rockcliffe Park - the richest, toniest, newsiest village in Canada?, by Susan Dexter; Canadiana by Gerald Stevens; Full - page Crown Zellerbach black and white photo ad shows 50 - ton log trailers at Nanaimo Lakes on Vancouver Island; Gerald (Gerry) Caplan says we shouldn't hesitate to threaten Rhodesia with force; and more. Average external wear and soiling. A sound vintage copy. Magazine

      [Bookseller: Online Bookshop Jim and Mina Stachow]
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        INTELLIGENT LIFE IN THE UNIVERSE ** Signed By Carl Sagan **

      Holden Day, San Francisco 1966 - ***** This is the true first edition, first printing (with the 1966 date on the title page and copyright page, and with no later printings listed). ***** This book is SIGNED by Carl Sagan on the second page. Mr. Sagan did not inscribe this book to anyone; it is just signed by him. ***** This is Carl Sagan's first book. Signed examples are rare. Very nice hardcover with dust jacket. There is NO writing, NO bookplates, and NO remainder marks. It is NOT a book club edition and NOT a former library book. ***** CONDITION: The book is in NEAR FINE condition, and the dust jacket is in VERY GOOD condition. ***** We include new mylar (clear) dust jacket protectors with all books at no charge. ***** OUR GUARANTEE TO YOU: All books are guaranteed to be as described. We believe that no sale is complete until you are happy. Any book is returnable for a full refund (including postage) if you're not 100% satisfied. All books are packaged very carefully and shipped via USPS Mail with Delivery Confirmation. Thank you! Richard Vick, Modern First Editions (Buying and Selling Modern First Editions since 1982). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Richard Vick, Modern First Editions]
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        MANY ARE CALLED: PHOTOGRAPHS BY WALKER EVANS

      Houghton Mifflin Company & The Riverside Press, Boston & Cambridge, MA 1966 - xii + 178pp, 89 b&w illustrations. Published in 1966, this hardbound monograph collected in book form for the first time Walker Evans' poignant black and white portraits of New York City subway riders taken during the thirties and forties. An internally bright, most handsome example of the uncommon Houghton Mifflin Company and Riverside Press first hardcover edition (cited on page 253 of Martin Parr and Gerry Badger's "The Photobook: A History Volume I", pages 218-219 of The Hasselblad Center's "The Open Book", and page 31 of "From Fair to Fine: 20th Century Photography Books That Matter") showing some rubbing, creasing and closed tears to its fragile dust jacket. It has been priced accordingly. PLEASE NOTE: Additional shipping costs are required for this item beyond our standard rates due to its value - we will inform you of the applicable amount at time of purchase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Arcana: Books on the Arts]
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        1966 Pablo Picasso 60 Years of Graphic Works Mourlot Lithograph

      1966 - "60 Years of Graphic Works" by Pablo Picasso, Unsigned Lithograph printed in 1966 from an edition size of 2,500. The overall is size of the Lithograph is 29 x 20.25 inches. The condition of this piece has been graded as B-: Good Condition, Signs of Handling and Age. Here is some supplemental information about the Lithograph: Some staining throughout the image. [Attributes: Signed Copy]

      [Bookseller: Rare Posters]
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        Thou shalt also anoint Aaron and his sonnes, and shalt consecrate them, that they may minister unto me in the Priests offices - The Story of Exodus

      AMIEL Léon 1966 - - AMIEL Léon, En France Février 1966, 36x49.5cm, en feuilles. - Lithographie originale en couleur imprimée sur papier japon impérial. Superbe et rarisime épreuve sur japon réalisée pour l'illustration de The Story of Exodus paru en 1966 et dont il a été tiré 20 exemplaires sur japon Impérial et 250 sur Arches comprenant 24 lithographies hors texte de Marc Chagall. Impression par Fernand Mourlot, déjà imprimeur des deux volumes de la Bible illustrée par Chagall et qui participa à la découverte de la lithographie par l'artiste dans les années 1950. La culture biblique de Marc Chagall (1887-1985) est importante : né dans une famille juive hassidique pratiquante, il lit la Bible dès son enfance. Son oeuvre picturale est très rapidement influencée par ce thème, comme en témoigne dès 1908 La Sainte Famille. Devant cette prédilection pour les sujets religieux, son ami le marchand d'art Ambroise Vollard lui commande en 1930 une série d'llustrations sur la Bible. Ce travail se trouve à l'origine d'un cycle décoratif, le Message biblique, terminé en 1966, soit la même année où est publié The Story of Exodus. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] 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). [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Unpublished typescript with manuscript corrections. --- Un apres-midi avec Picasso 85 ans. (An Afternoon with Picasso at 85).

      Cannes. 1966. NP. 1966 - Quarto (285mm x 233mm). 20 typed sheets in French (rectos only), legibly hand-corrected throughout by Brassai in black ink. Housed in a black cloth album, with each sheet in a separate clear plastic file. In excellent condition, the final page a little creased and with minor loss to right-hand side, affecting one letter. Overall fresh and clean. ------ A superb unpublished and heavily corrected manuscript in French, in which Brassai recounts his visit to Picasso, a long-standing friend, at his home near Cannes. Brassai, who photographed much of Picasso's work in the 1940s, had published Conversations with Picasso in 1964, in which he created an intimate portrait of Picasso, covering their friendship and artistic collaboration, and recording each of their meetings with minute detail. Picasso said of the volume, "Read this book if you want to understand me". This account is written in a similar style, and during the course of the afternoon, Picasso speaks about his nostalgia for his old studios, his health, his enthusiasm for the recently invented felt-tip pen, his opinion of his own writings, his relationship with his wife Jacqueline, and his views on feminism. Though unmarked as such, it comes from the collection of Brassai's close friend and colleague, photographer Stefan Lorant. [Attributes: Hard Cover]

      [Bookseller: Paul Foster. - ABA & PBFA Member.]
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        THE SEVEN STOREY MOUNTAIN

      Harcourt, Brace & World, Inc (1966), New York - Later Printing of Merton's monumental autobiography SIGNED by the author on the front endpaper: "best wishes/Thomas Merton." Merton tended to sign as "Father Louis" in most of the trade editions of his books that we have seen, and we have not seen any copies of this title, his best known, in any printing signed by him. Spine gilt dull but still readable. Near Fine in a Very Good dustwrapper [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Charles Agvent, est. 1987, ABAA, ILAB]
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        1966 HEADED TYPED LETTER THAT IS SIGNED IN INK BY KONRAD LORENZ

      SELF,UK 1966 - THIS ITEM IS A SIGNED LETTER WITH HEADED LETTERHEAD OF THE MAX-PLANCK-INSTITUT FUR VERHALTENSPHYSIOLOGIE TO MRS.GEORGIANNA POUZZNER-ECONOMIC CONSULTANT.IT REPLIES TO COMMENTS ABOUT LORENZ'S BOOK (PERHAPS -ON AGGRESSION-)HUMOUROUSLY.IT IS SIGNED IN INK BY KONRAD LORENZ. A4 IS FOLDED INTO FOUR AND HAS A FEW TEARS.EXTREMELY SCARCE LORENZ SIGNATURE Language: eng [Attributes: Signed Copy]

      [Bookseller: S.Carter]
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        Quotations from Chairman Mao Tse-Tung.

      Beijing, Foreign Languages Press, 1966. - 12mo (93 x 131 mm). (12), 311, (3) pp. With half-tone portrait frontispiece and facsimile plate of inscripzion by Lin Pao. Original red vinyl over paper boards, titled and stamped with a star in blind on the upper cover. First English edition, signed by Chairman Mao alongside his portrait. While it is estimated that five billion copies of the "Little Red Book" were printed by the close of the 20th century, merely a handful were actually signed by Mao. According to a document included with the book, the volume was likely signed in December 1967, towards the beginning of the Cultural Revolution, when a delegation of the China-Albania friendship association visited Beijing. As the owner writes, "My father was one of the delegation members. Later on, my father asked some associated person if Chinese could present a signed 'Quotations From Chairman Mao Tse-Tung' as a souvenir. Afterwards, my father was much honored to receive this present. I have been preserving this book till now." The undated letter (probably 1980s) to Mr. Michael Moore of 1 Cromwell Place, London, is signed "Maskat" (?). Only three other signed copies appear in book auction records, all signed on 2 July 1967 for a delegation of journalists from the leftist New Zealand weekly "People's Voice". [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Pablo Picasso-Papiers Colles-1966 Mourlot Lithograph

      1966 - "Papiers Colles" by Pablo Picasso, Unsigned Lithograph printed in 1966 from an edition size of 300. The overall is size of the Lithograph is 25.25 x 19 inches. The condition of this piece has been graded as A-: Near Mint, very light signs of handling. Here is some supplemental information about the Lithograph: Lithograph from an exhibition held at Galerie Lucie Weill in 1966. Recreated by master engraver Henri Deschamps and printed on BFK Rives paper at Mourlot Freres. Printers copies unsigned and not numbered with full margins. [Attributes: Signed Copy]

      [Bookseller: Rare Posters]
 18.   Check availability:     AbeBooks     Link/Print  


        Pastelli & Disegni

      Milano: All'insegna del pesce d'oro, , 1966. Brossura, custodia (wrappers, slip-case). Molto Buono (Very Good). Con uno scritto di Franco Russoli. Con 18 tavole, 9 a colori applicate e 9 in bianco e nero. Una delle 35 copie di lusso con un'incisione originale sciolta, firmata, datata e numerata, di Eugenio Montale (cm 9x9; foglio cm 21,5x16). 8vo. pp. 54. Molto Buono (Very Good). Edizione originale di 1000 + XXXV es. numerati.

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


        The Book: On the Taboo Against Knowing Who You Are

      New York: Pantheon Books, 1966. First Edition. Hardcover. Very Good. First edition. Inscribed by Alan Watts to former owner on front free endpaper. x, 146 pp. Tan cloth with black and red stamping. Very Good+ in Very Good unclipped, slightly-toned dust jacket with darkened spine panel, a few small stains on back panel, small closed tear there as well. Cloth faintly dampstained but internally clean and straight. One of the British philosopher and lecturer's best-known works.

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


        Edition Et. Nos. 1-4, 13-15 (1966-1967) (all published).

      A complete run in seven volumes of the German modern art journal, under the editorial direction of Bernhard Höke and Rochus Kowallek (no. 4 only), each issue consisting of 50 leaves with offset prints of drawings, photographs, graphics, and text, some folding (No. 4 missing leaf 4, Décor-Folie by Konrad Leug), issues 1-4 containing the work of many different artists, including George Brecht, Robert Indiana, Wolfgang Ludwig, Ben Vautier, Emmett Williams, Eric Andersen, Roy Lichtenstein, Nam June Paik, Sara Quand, Christo, and Gerhard Richter, among many others, 13-15 each devoted to the work of a single artist, focused on Bazon Brock, Wolf Vostell, and Diter Rot, respectively. Square 8vo. Paper portfolios, contents loose as issued, some minor soiling and tears to portfolios. N.p. (Berlin) (Verlag Christian Grützmacher) 1966-1967.

      [Bookseller: F.A. Bernett Books]
 21.   Check availability:     Biblio     Link/Print  


        Who Are You, Polly Magoo? [Qui êtes-vous, Polly Maggoo?] (Collection of 8 oversize double weight photographs from the set of the 1966 film)

      Paris: Club des Producteteurs, 1966. Eight vintage oversize press photographs from the set of the 1965 film, shot for the French magazine Cinéma 66, and with their stamp and stamped reference number on the verso of each. All the shots are striking and quite candid, several showing director William Klein working with actors Dorothy MacGowan and Sami Frey or setting up shots, and others capturing the delirious and beautiful Ms. McGowan. "After nearly a decade as American Vogue's most subversive fashion photographer, William Klein made this wild, pseudovérité incursion into the world of Parisian haute couture. Elegant, scathing humor ties together the various strands of this alternately glamorous and grotesque portrait of American in Paris Polly Maggoo (Dorothy MacGowan), an Alice in Wonderland supermodel who becomes the pinup plaything of media hounds and the fragmented fantasy of haunted Prince Igor (Sami Frey). Klein's first fiction film is a daring deflation of cultural pretensions and institutions, dressed up in brilliant black and white." (The Criterion Collection) All photos 15.75 x 10.75 inches (40 x 27 cm). Fine. Criterion Eclipse 9.

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


        Been Down So Long It Looks Like Up To Me

      New York: Random House, 1966 - First Edition. Review copy; with the publisher's slip laid in; a fine copy in a dust jacket with light wear. [Attributes: First Edition; Hard Cover]

      [Bookseller: Peter L. Stern & Co., Inc., A.B.A.A.]
 23.   Check availability:     AbeBooks     Link/Print  


        Brockhaus Enzyklopädie 17.Auflage Halbleder, 20 Bände (A-Z) | Originalverpackt (!)

      F.A. Brockhaus 1966-1974, Wiesbaden - Frisches & originalverpacktes Exemplar (!) Brockhaus Enzyklopädie. Siebzehnte (17.) völlig neubearbeitete Auflage. Komplett in 20 Bänden (A-Z). F.A. Brockhaus, Wiesbaden, 1966-1974. Halblederausgabe: Schwarze Echtlederrücken mit rotem Rückenschild & Goldprägungen; veneziaroter Buchdeckel; Kopfgoldschnitt. Format ca. 24,5 x 18 cm. Je Band mehr als 800 S. mit zahlreichen Abbildungen in schwarz-weiß & in Farbe. Wie auch den ersten beiden Originalbildern zu entnehmen, sind die Bücher noch in verlagseitigem Auslieferungszustand originalverpackt: In den braunen Versandkartons (mit entsprechendem Bandnummeraufdruck), den grauen Schubern (mit Bandnummeraufdruck), darin zusätzlich noch jeder Band in weißes Schutzpapier eingeschlagen & in den blauen Schutzumschlägen. Einzig bei drei Bänden (1,10,20) fehlt der äußere Versandkarton (s. Bild 2) & das weiße Schutzpapier. Durch die Aufbewahrung in der Originalverpackung sind die Bände frisch & tadellos erhalten. Der Kopfgoldschnitt glänzt wie neu, der Buchschnitt ist schneeweiß etc. Auch innen einwandfreies, vollständiges Exemplar. An der Verpackung (Schuber, Versandkartons, Schutzumschläge) - deren Funktion entsprechend - leichte Lagerspuren. De facto identische Qualität wie bei Bezug vom Verlag - in besserem Zustand können Sie Bücher dieser fast 50 Jahre alten Brockhaus Auflage heute nicht mehr erhalten. 60000 Gramm. [Attributes: Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
 24.   Check availability:     AbeBooks     Link/Print  


        The Three Stigmata of Palmer Eldritch

      Jonathan Cape 1966 - slightly age darkened at the spine of the book and very slightly cocked else a very good copy in original gray paper over boards with nice bright d.j. [blue stain on top edge is slightly faded at the front] . A handsome copy of the First English of one of PKD's scarcer titles [Attributes: First Edition; Hard Cover]

      [Bookseller: Riverrun Bookshop]
 25.   Check availability:     AbeBooks     Link/Print  


        Photo Album Documenting Construction of Plaza Theater]

      Munn Photography [ca. 1966-1967], Jacksonville, FL - Oblong folio commercial album measuring approximately 15.5" x 12". Burlap covered boards with matted color photograph mounted to front. 22-ring clasp metal binding. 27 yellow construction paper pages containing 53 approximately 8" x 10" photographs (47 black and white, 6 color) mounted both recto and verso. Several related news clippings and articles loosely laid-in. Split in burlap at joint, though cover securely attached. Title photograph on front board with substantial fingerprinting, handling wear. Age toning to edges of interior paste-downs and occasionally at page edges. Five photos with tiny areas of image loss from having stuck to the print mounted opposite. Otherwise contents bright, clean, and well-preserved. About very good. Album carefully documenting the construction of The Kent Theaters, Plaza "Rocking Chair" Theater on Phillips Highway (U.S. Hwy #1) in Jacksonville, FL which opened its doors January 27, 1967. Photographs thoroughly detail construction, from groundbreaking to completion: concrete placement, steel erection, masonry, interior construction, placement of the rooftop A/C unit, signage, projector and speaker installation, workers and laborers, as well as finished shots of the theater's interior and exterior. All black and white construction images dated, beginning 9/1/66 and ending 1/23/67. The six color photos are undated, though were likely captured on or around the theater's opening day to showcase the finished work. A full page, color ad from January 26, 1967 issue of the JACKSONVILLE JOURNAL is laid-in. The Plaza's amenities, including ample parking, ("1,000 FREE PARKING SPACES" according to the ad), rocking chair seats and easy access to expressways, marked a sea change in options for the moviegoing public - a move that culminates in our modern multiplexes. [Attributes: First Edition; Soft Cover]

      [Bookseller: Brian Cassidy, Bookseller ABAA/ILAB]
 26.   Check availability:     AbeBooks     Link/Print  


        Os Poemas Possíveis.

      Portugália Editora, Lisboa 1966 - 188, [8] p. : (21,5 cm) : Enc. Bom exemplar da primeira edição. Encadernado em skivertex preto mantendo as capas de brochura concebidas por Rui Garrido para a Colecção "Poetas de Hoje".Com dedicatória autógrafa, raro.

      [Bookseller: Artes & Letras]
 27.   Check availability:     IberLibro     Link/Print  


        Charles Henri Ford Screen Test Print

      [New York: The Factory], 1966. A few very light internal creases, else near fine.. Presumed vintage 8 X 10 inch silver gelatin print of Charles Henri Ford, from Warhol's screen test series, shot by Gerard Malanga. Paper bears vintage Agfa stamping across the rear of the print.

      [Bookseller: Harper's Books, Inc.]
 28.   Check availability:     Biblio     Link/Print  


        Gaspar Van Wittel e l'origine della veduta settecentesca

      Roma , UGO BOZZI, 1966 - Cronologia dell'Artista e Catalogo critico delle opere con riproduzione di tutti i dipinti e i disegni conosciuti (115 ill. in nero n.t. di cui 6 grandi tavole su doppia pagina, 31 tavole a colori, 434 ill. nel catalogo ragionato). In appendice sono raccolti, e per la prima volta integralmente pubblicati, i disegni che per primi Van Wittel fece a Roma, quando da giovane vi venne dall'Olanda. 8vo. pp. XII - 388. . Ottimo (Fine). . Prima edizione di 500 es. numerati. . Rilegato tela, sovracoperta (cloth, dust jacket) [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Marini ALAI - ILAB]
 29.   Check availability:     AbeBooks     Link/Print  


        Cavalcanti Poems (ASSOCIATION COPY)

      New Directions, New York, New York, USA 1966 - 108 pp. 10 1/4 inches tall x 8 1/2 inches. Signed by the poet Ezra Pound on the colophon page. Printed at the Officina Bodoni in Verona. Vellum-backed boards with mylar jacket, in thin grey card slipcase with paper label as issued. Slight crease to slipcase with nick at bottom edge and light surface wear. From the total edition of 200 copies (10 on Japan and 190 on Pescia paper) at the Officina Bodoni, this is Copy #115 of 115 on paper distributed in the United States by New Directions, with their imprint. Typographically, this is the finest of all editions of Ezra Pound. With a note in ink on the front free endpaper: "D.P.'s" (i.e. Ezra Pound's wife Dorothy Pound). With the bookplate of Omar Shakespear Pound on the front pastedown. Gallup A86. Provenance: Dorothy Shakespear Pound's personal copy given to her son Omar Shakespear Pound and purchased from his estate. Fine. Described by Time Magazine in 1933 as: "a cat that walks by himself, tenaciously unhousebroken and very unsafe for children.", Ezra Pound (1885-1972) remains a controversial and polarizing literary figure. This is a fine copy of one of his later signed works with impeccable provenance. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Come By Chance Books, IOBA]
 30.   Check availability:     AbeBooks     Link/Print  


        A series of 9 Autograph Letters Signed, 3 autograph postcards (with an autograph postcard from Murdoch's husband John Bayley) to Roger Sharrock and his wife Betty.

      - With six autograph envelopes, date stamped between 1966 and 1985. Informal and friendly correspondence to Professor Sharrock and his wife Betty in the form of letters, note cards and postcards spanning nearly 20 years. Mostly written from Murdoch's Steeple Aston home where she lived for thirty years with her husband, the literary critic John Bayley, with one letter from their North Oxford home in Charlbury Road. Professor Roger Sharrock (1919-1990) was an academic specialising in John Bunyan, who held professorships at the University of Durham and King's College London. Two letters refer to Murdoch's mother's failing health:'. my mother has been with us since earlier July, getting progressively iller, those who looked after her in London having given up. She has now had a mental collapse followed by a stroke, and it is not clear how far on she will recover. It has been a very sad time. .' (Steeple Aston, 9 August, no year)An undated letter (?1983) refers to a piece Sharrock had written on Yeats - 'Yeats - yes, how mixed I feel about him' and discusses his visit to Korea.'I hope the Koreans understood it. I fear their Buddhism is a bit nasty. No one I talked to would admit to being a Buddhist, though several said they were Confucians! We enjoyed being there - very afflicted country though. .' In a more prosaic postcard, John Bayley writes to Betty Sharrock recommending that she tries araldite. 'I do hope it does the trick - I think it will!'

      [Bookseller: John Wilson Manuscripts Ltd ABA ILAB]
 31.   Check availability:     AbeBooks     Link/Print  


        Alice I Underlandet.

      Stockholm: Albert Bonniers,, 1966. Octavo. Original brown cloth, titles to spine in gilt, lime green endpapers. With the dust jacket. colour and black and white illustrations. pages and dust jacket mildly toned. An excellent copy. First edition, first impression in Swedish of Tove Jansson's illustrated edition of Alice in Wonderland. A whimsical illustrated version of Alice from the creator of the Moomins.

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


        Altenbourg, Gerhard. - "Janus im Flüstern Pans".

      - Lithografie / Kreidelithografie, in Schwarz, auf hell-chamoise Karton, 1966. Von Gerhard Altenbourg. Auflage Exemplar Nr. 9/15. 48,0 x 36,0 cm (Darstellung / Druckbild) / 65 x 50 cm (Blatt). Janda L 112. Unterhalb in schwarzer Feder signiert und datiert. Darüber Titel, darunter Blindstempel des Künstlers. Links unten Auflagenbezeichnung. - Ohne Makel. Sehr guter Zustand. Gerhard Altenbourg (1926 Rödichen-Schnepfetal - 1989 Meißen). Deutscher Maler und Grafiker. 1929 Umzug nach Altenburg. 1944-45 Soldat im Zweiten Weltkrieg. 1946-48 als Schriftsteller und Journalist tätig, Zeichenunterricht bei Erich Dietz. 1948-50 Studium an der Hochschule für Baukunst und Bildende Kunst in Weimar bei Hans Hoffmann-Lederer. 1959 Teilnahme an der documenta II in Kassel. 1961 Gastatelier an der Kunstakademie in Westberlin. 1961 Erwerb einiger Arbeiten durch das Museum of Modern Art in New York. 1962-89 Atelier in Altenburg, Annahme des Künstlernamens "Altenbourg". 1966 Burda-Preis für Grafik in München. 1968 Will-Grohmann-Preis in Westberlin. 1970 Mitglied der Akademie der Künste, Berlin. 1977 Teilnahme an der documenta 6 und Mitgliedschaft bei der ?Life Fellow of the International Biographical Association? in Cambridge. In den 1980er Jahren Ausstellungsverbot und Schließung der Ausstellungen, da er sich den offiziellen Kunstauffassungen der DDR widersetzte.Seit 1998 vergibt das Lindenau-Museum in Altenburg aller zwei Jahre den Gerhard-Altenbourg-Preis. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: GALERIE HIMMEL]
 33.   Check availability:     ZVAB     Link/Print  


        Teatr. (Teatp). 1966 12 issues

      Moscow (Moskva): Iskusstvo, 1966. 4to. Original wraps. 12 issues complete for the year. Later issues ISSN 0131-6885 1965--1969 -- ( « » -- , , . 1937 « ». 1941 1945, 1995, 1998--1999, 2009--2010. , 1990- ( 1996 1997 ). 2010 1 2 . 1945--1953 , 1954--1990

      [Bookseller: Alan Wofsy Fine Arts]
 34.   Check availability:     Biblio     Link/Print  


        Every Building on the Sunset Strip.

      Los Angeles: Self-published, 1966 Paperback SIGNED. First edition, second printing, 1970. Very Good paperback original with light soiling and a crease to the spine, hints of soiling to the covers, and blunting to the tips in the original cardstock slipcase with the silver mylar-covered-paper wrap; the silver jacket is Very Good with light rubbing to the surface, a touch of bumping at the edges, a one-inch thin strip where the mylar has lifted from the paper backing, and a light crease at one end and has been fitted with a custom clear acetate protective cover; the slipcase has a half-inch split at one corner of the open end. Overall, a nice copy. Ruscha's fourth artist's book--arguably his most iconic and best known bookwork--with two continuous photomontages of images of the north and south sides of Sunset Strip, Los Angeles. Every building on the Strip in 1966 is represented and captioned with its street number as well as the names of the cross streets. Photographs, concept, and design by Ed Ruscha. SIGNED BY RUSCHA on the title page; no inscription. From an unnumbered edition limited to 5000 copies. Accordion-folded glued pages, bound to thin card wrappers, approx. 24 feet long when unfolded; unpaginated [53 pages]; b&w illustrations throughout; 5-5/8 x 7-1/16 inches. Reference: Roth, Book of 101 Books, p.182-185; Parr & Badger, Photobook Vol. II, p.142-143; Hasselblad Center, Open Book, p.198-201; Engberg, Edward Ruscha Editions 1959-1999, B4; Auer, 802 Photo Books, p.463. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX.

      [Bookseller: A&D Books]
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        High and Low.

      London: John Murray,, 1966. Octavo. Original white cloth, titles to spine gilt, top edge gilt, others untrimmed and partially unopened, marbled endpapers. Tiny speck to title and copyright pages. An excellent copy. First edition, signed limited edition. Number 31 of 100 copies specially bound and signed by the author.

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


        Francis Bacon: Derriere Le Miroir, Special Issue No 162

      Paris: Maeght. First edition. Original wrappers, box and chemise. Fine/Fine. LIMITED EDITION, ONE OF ONLY 150 COPIES on Vélin de Rives. Dedicated to Francis Bacon and complete with five single-sheet color lithographs and one fold-out color triptych by Bacon. Published in 1966 for the exhibition of 17 paintings at the Galerie Maeght. Text by Michel Leiris and interview with Francis Bacon by David Sylvester. In addition to the lithographs, the volume contains several color and black and white illustrations of Bacon's work. NOTE: The limited edition is of vastly superior quality than the corresponding trade issue of Derrière Le Miroir. Paris: Maeght, 1966. Folio, loose sheets in original pictorial wrappers (as issued); original box and chemise. Issue fine, spine fading and a touch of wear to box and chemise. A beautiful copy. Rare.

      [Bookseller: The Manhattan Rare Book Company]
 37.   Check availability:     Biblio     Link/Print  


        Theory of Self-Reproducing Automata.

      Urbana: University of Illinois Press,, 1966. Edited and completed by Arthur W. Burks. Octavo. Original green cloth, titles to spine and front board in black. With the dust jacket. A fine copy in a slightly rubbed jacket with a few small nicks to spine ends and corners. First edition, first printing of Neumann's last work on the theory of automata. Published posthumously, the contents of this volume stem from two unfinished manuscripts, edited by Burks, Neumann's colleague on the ENIAC project. Divided into two parts, the work covers complicated automata in general, comparing artificial and natural automata, as well as the logical design of a self-reproducing cellular automaton.

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


        Lettres Persanes ( illus. André HUBERT)

      Editions de l'Ibis, Paris - Paris. Editions de l'Ibis, 1966/7. Grand in-4. 4 tomes. 155 & 180pp. + 2 volumes avec suite des illustrations. Illustré de 30 compositions originales de André Hubert, dont 1 à double page, 13 à pleine page et 16 à demi-page, et de nombreux bandeaux, tous en couleurs rehausseé à la main. Il y a d'ailleurs maintes dessins fantaisistes du même artiste imprimés en marrons dans les marges de page. Tirage limité; ici l'un des 270 exemplaires (No. 18) qui comporte une suite des illustrations avec 4 compositions tirées sur soie. Les 2 volumes principales en reliure de l'éditeur plein cuir rouge avec un rabat, joliment ornée à la plaque d'un décor persan or et blanc, les volumes supplémentaires en feuilles sous chemises avec dos et bords cuir rouge et plats toile beige. Très bel ensemble, mais sans les étuis d'origine. [Attributes: Hard Cover]

      [Bookseller: Valier Illustrated Books]
 39.   Check availability:     AbeBooks     Link/Print  


        Le deuxieme souffle (Original French poster for the 1966 film noir)

      Paris: Les Productions Montaigne, 1966. Vintage French grande poster (affiche) for the 1966 French film noir. Director Melville's ninth film, and while this is saying something, probably his bleakest. Ventura plays a mobster who emerges from prison determined to reclaim his old crime empire, only to find that times have changed since he left. Railing against said changes, he sends himself and his family on a downward spiral that pits nearly everyone on both sides of the law against him. 47 x 63 inches (119 x 160 cm). Rolled, on archival linen. Near Fine. Criterion Collection 448. Buss, pp. 173-174. Grant, p. 181. Spicer, p. 453.

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


        The Orchard Keeper

      Andre Deutsch, London 1966 - First U. K. edition, in very good plus condition. Binding is tight and pages are crisp and clean clean. Top page edge has foxing. Red cloth covered boards are bright, square and clean. Spine head and tail are soft. Dust jacket is very good. Priced 25s net. Shows some edge wear and back side shows some shelf rubbing. 246 pages. [Attributes: First Edition; Hard Cover]

      [Bookseller: Wolfmueller's Books]
 41.   Check availability:     AbeBooks     Link/Print  


        [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.

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


        Bell Jar, The

      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

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


        Blake: Complete Writings with Variant Readings

      Oxford: Oxford University Press, 1966. hardcover. fine. Edited by Geoffrey Keynes. 944 pages. 8vo, polished red calf, ornately gilt spine with blue spine label, a.e.g. London: Oxford University Press, (1966). Fine.

      [Bookseller: Argosy Book Store]
 44.   Check availability:     Biblio     Link/Print  


        Cavalcanti Poems (ASSOCIATION COPY)

      New York, New York, USA: New Directions, 1966. First Edition. Hardcover. Fine. 108 pp. 10 1/4 inches tall x 8 1/2 inches. Signed by the poet Ezra Pound on the colophon page. Printed at the Officina Bodoni in Verona. Vellum-backed boards with mylar jacket, in thin grey card slipcase with paper label as issued. Slight crease to slipcase with nick at bottom edge and light surface wear. From the total edition of 200 copies (10 on Japan and 190 on Pescia paper) at the Officina Bodoni, this is Copy #115 of 115 on paper distributed in the United States by New Directions, with their imprint. Typographically, this is the finest of all editions of Ezra Pound. With a note in ink on the front free endpaper: "D.P.'s" (i.e. Ezra Pound's wife Dorothy Pound). With the bookplate of Omar Shakespear Pound on the front pastedown. Gallup A86. Provenance: Dorothy Shakespear Pound's personal copy given to her son Omar Shakespear Pound and purchased from his estate. Fine. Described by Time Magazine in 1933 as: "a cat that walks by himself, tenaciously unhousebroken and very unsafe for children." Ezra Pound (1885-1972) remains a controversial and polarizing literary figure. This is a fine copy of one of his later signed works with impeccable provenance.

      [Bookseller: Come By Chance Books (IOBA)]
 45.   Check availability:     Biblio     Link/Print  

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