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Displayed below are some selected recent viaLibri matches for books published in 1967

        You Only Live Twice [film poster].

      London: United Artists, 1967 - Sheet size: 75.4 x 101 cm (UK quad size). Light soft creasing, has never been folded. Presented in a black wooden frame with UV glass. Offset lithograph on wove paper. Film advertising poster for You Only Live Twice, based on the novel by Ian Fleming, starring Sean Connery as James Bond, produced by Harry Saltzman and Albert R. Broccoli, directed by Lewis Gilbert, screen play by Roald Dahl.

      [Bookseller: Peter Harrington. ABA member]
 1.   Check availability:     ZVAB     Link/Print  

        The Shorebirds of North America

      New York: The Viking Press, 1967. Copyright date is 1967, First Scarce Limited Edition, Signed by Peter Matthiessen, Ralph S. Palmer, Robert Verity Clem and Gardner D. Stout. This is a scarce limited first edition of this work, signed by all four contributes (including Robert Verity Clem, whose 32 color plates illustrate the work). The title is specially bound in leather with the original brown cloth-covered slipcase. The work is limited to 350 numbered copies; this copy is unnumbered. This author-signed vintage volume is solidly bound in leather, with mild shelf wear. The pages are clean and without markings. The plates are vividly colored. The slipcase shows light shelf wear. Text and illustrations are bright and clean, Binding is secure, A solid collectible book.. Signed by Author & Illustrator. limited first edition . Full-Leather. near Fine/near Fine. Illus. by Robert Verity Clem. 113/4 x 17 3/4. Collectible & Signed, Limited.

      [Bookseller: Mclin Haven]
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        Afrodite ovaiola. Otto litografie originali di Domenico Cantatore

      Luigi Maestri, 1967. edizione di 70 esemplari numerati contenente 8 litografie originali a colori. sia gli esemplari che le litografie sono singolarmente numerati e firmati dall'artista e dall'autore. il nostro è l'esemplare numero 6

      [Bookseller: Libreria del Riacquisto Libet]
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        Présentation de Sacher-Masoch

      1967. - Paris 1967, 14x22,5cm, broché. - Edizione per il quale non è stato redatto grandi giornali. L'invio autografo firmato e datato Gilles Deleuze a un paio di suoi amici. libro illustrato di Sacher-Masoch ritratto frontespizio e compreso il testo completo di "Venere in pelliccia", tradotto da Aude Willm. Due piccoli strappi nelle teste di una guardia e la pagina occhietto, un'altra lunghezza del primo piatto, bella copia. - [FRENCH VERSION FOLLOWS] Edition originale pour laquelle il n'a pas été tiré de grands papiers. Envoi autographe daté et signé de Gilles Deleuze à un couple de ses amis. Ouvrage illustré d'un portrait de Sacher-Masoch en frontispice et comportant le texte intégral de "La Vénus à la fourrure" traduit par Aude Willm. Deux petites déchirures en têtes d'une garde et de la page de faux-titre, une autre en pied du premier plat, agréable exemplaire.  

      [Bookseller: Librairie Le Feu Follet]
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        FAKE: an identity theft denunciation by Rufino Tamayo

      OFFERING: An extraordinary art forgery sold, as by Rufino Tamayo, and later, personally denounced and defaced by the artist. Rufino Tamayo documented the event by dramatically writing FAKE through the head and autographing his declaration below for the owner, Jacob D. Weintraub, the New York art dealer, the testament inseparable from the identity fraud it has stopped.  Also, from Weintraub's collection, and accompanying the illustrated forgery document is the rare deluxe issue of "Tamayo", the monograph, which provides additional forensic support with its authentic Rufino Tamayo signature from the same time period, on the justification leaf signed by contributors. RARITY: Artworks found to be forgeries: common. Artist correspondence about forgeries: not unusual. A declaration of forgery superimposed on the forged artwork: excessively rare. FORGED DRAWING: It is a work of art about connection to creation but the artwork is a forgery, and a mediocre one, made and sold to capitalize on the burgeoning fame of Rufino Tamayo. His banner style declaration on the forged artwork, charged with anger and incredulity, nullifies the claim it is by him and transforms it into a riveting, illustrated document of identity fraud and an art market ceaselessly searching for in demand product. Spanning 182 x 65 mm, the testament is made in the manner of voiding a financial instrument, but with an artist's flair, stabbing the figure, cutting into an eye, piercing a wrist, and the k in FAKE done, as an insult-v along the nose joined to a cross-out-x. His nonpareil autograph nearly spans the width of the drawing. The long T-bar flourish (in Tamayo) underscores the denunciation. DOCUMENTATION: 3 pieces of documentation on the rear backing, the art gallery seller label, a museum sticker used to augment provenance, and Jacob Weintraub's notes on his purchase, establish some of the historical background: Title: Woman with Outstretched Arms / Date: 1967 / Size: 240 x 319 mm / Media: pastel and pen & ink / Price: $2,500.00 / Sale: February, 4, 1969 / Seller: Maxwell Galleries (551 Sutter St., San Francisco, established 1940 by Fred Maxwell) / Buyer: Jacob Weintraub, for the Weintraub Gallery, 992 Madison Avenue, New York. After making his reputation as a dealer in German Expressionist art, Jacob Weintraub [1905-2000] opened a gallery in 1967 in Manhattan and he would have been purchasing after the 1968 Christmas season to add to inventory. Forger: Unknown / Date of Tamayo's testament to the forgery: Unknown. Possibly, Weintraub showed "Woman with Outstretched Arms" to Tamayo in 1971 or 1973 when the artist was visiting New York for the opening of solo exhibitions at the Perls Gallery. PROVENANCE: Jacob D. Weintraub had a personal connection to the altered work, and recognizing the great rarity of the event, kept this remarkable art history picture document for his private collection. The altered forgery and deluxe issue book were offered as one lot, from his estate at auction, and purchased by the seller. CONDITION SUMMARY: Forgery and Tamayo Testament: Fine / Gallery Label: Fine / SBMA Sticker: Very Good / Picture Frame: Poor / Book: lacks called for, signed Tamayo drawing, lacks raffia board slipcase. / Pages: bright and clean, many pages with a light fore-edge bend, some with the top corner slightly bumped. / Covers: bright and clean with slight rubs and top corners slightly bumped, spine with some footwear and a light crown rub. / Gilt: Fine / Binding: Very Good. BOOK: "Tamayo" by Juan Garcia Ponce, Galeria de Arte Misrachi, Mexico City, 1967, first edition, all texts in Spanish and English, example no. 71 from the deluxe issue, comprising the first 110 examples from the limited edition of 3110. DELUXE ISSUE: Handbound in soft tan calf, upper side decorated with an original Tamayo design in green, top edge rolled in gold leaf stamped with a lozenge scale pattern, folio sewn with raffia endpapers delicately brushed with gold leaf, one inner panel on each side ruled with gold leaf borders, binding signed in gold leaf by Fernando Lopez Valencia. Printed on Sirius cardstock, the justification leaf is signed and numbered by Rufino Tamayo and additionally signed by Francisco Graue (principal editor), German Torres (printer), and Fernando Lopez Valencia. FERNANDO LOPEZ VALENCIA: apprenticed in Madrid with his father, in the family business of handcrafted leather goods and bookbinding. He immigrated to Mexico in 1939 and became one of Mexico's leading bookbinders. PAGINATION: Complete; 66 unnumbered pages, Spanish followed by the English translation, texts illustrated with 23 b/w reproductions, some full-page, one double-page + the suite with 33 lithographed full-page color plates with facing captions reproducing Tamayo oil paintings. SIZE: 410 x 320 mm. ADDITIONAL IMAGES: by request.

      [Bookseller: Steven Waldman]
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        Blumen der Alpen, Eine Auswahl, 47 Holzschnitte, Beiliegend eine Broschüre mit Geleitwort und botanischen Erläuterungen,

      Süddeutscher Verlag, München, 1967 - München, Süddeutscher Verlag 1967, 38x28 cm, OHPgmt.-Mappe, Nr. 49/200 Ex., vier Blätter, die Nummern 8, 31, 38 und 43, sind vom Künstler signiert Es handelt sich um die 47 Bildtafeln, die Fritz Arnold vor seinem Tod auf der Handpresse vom Original-Holzstock noch drucken konnte. [Attributes: Signed Copy]

      [Bookseller: Antiquariat Wolfgang Rüger]
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        VIENNA DIRECT ART GROUP. Psych.mot. Geräuschaktion (67). - Originalfotografie, rückseitig in roter Farbe von Otto Muehl betitelt und signiert

      Wien, Frühjahr 1967 - 24 x 18 cm. Fotografie der berühmten Aktion, hier mit einer Szene aus dem ersten Teil "Schwechater Recht Hat Er" mit Timo Huber, Herbert Stumpfl,Hermann Simböck, W.M. Pühringer, Mitgliederder "Direct Art Group". Bisher unpubliziert. Laut dem Archiv Muehl sind keine Fotografien der Aktion bekannt, die im Atelier Anestis Logothetis statt fand. - Fotopapier leicht gewellt.

      [Bookseller: Daniel Thierstein]
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        Eleven Poems

      Festival Productions, 1967 Festival Publications, Belfast. Soft cover. Book Condition: Near Fine. Green wrappers. This third issue appeared about a year after the first. the author's first book. Not dated, but per Brandes and Durken late 1966 or early 1967. A lovely copy complete with the Poetry Society Bulletin.[removed][removed]

      [Bookseller: John Atkinson Books]
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        Alice in Wonderland [SIGNED]

      London: Dennis Dobson, 1967. 1st Edition . Very Good/Very Good. 9.25 x 13 inches (23 x 32.5 cm). Signed by Author. Dust jacket: Light shelf wear and a couple of marks. Tiny nick to outside edge of front cover. A couple of stains to jacket (only visible on the reverse) have caused very slight wrinkling to front cover. The Original (old money) price has been clipped with new publisher's price label to front flap. Overall jacket condition is Very Good. Book: Signed and dated by the illustrator to the half title page. A few tiny marks to boards. Small spot of glue to cloth at foot of page inside front cover (original binding flaw). Previous owner's bookplate to front pastedown endpaper, slight creasing to front free endpaper, otherwise in excellent condition throughout. The rare first Steadman edition. The book was obviously a slow seller and the publisher still had copies in stock when the book won the Francis Williams Book Illustration Award in 1972. On the back of this publicity it appears they remarketed the book with an amended price and a wrap-around slip announcing the award win. The wrap-around is included here (a little stained and marked). A highly sought after edition, rare in this condition and especially desirable with the illustrator's signature. Overall book condition is Very Good. Hardback. Printed pages: 108

      [Bookseller: Tarrington Books]
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        The Papers of Andrew Johnson, Vol. I - 16, 16 Volumes

      The University of Tennessee Press, Knoxville, Tennessee 1967 - Very Good+ hardcover set of 16 volumes in Very Good dust jackets which have been wrapped for protection. No names or marks. ; 8vo 8" - 9" tall [Attributes: Hard Cover]

      [Bookseller: Elder's Bookstore]
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        Charlie and the Chocolate Factory Illustrated by Faith Jacques


      [Bookseller: Maggs Bros. Ltd. ]
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        Tarjetón con "Deseos de felicidad matemática para 1967

      s/e 1967 - "Vanguardia Argentina" - 8vo.; 1 tarjetón de 22,7 cm. x 15,7 cm. firmado por Vigo. Edgardo Antonio Vigo fue un artista argentino nacido en 1928 y muerto en 1997, relacionado desde joven con las vanguardias europeas. Fue fundador y colaborador en varias destacadas revistas de la época, entre ellas la revista experimental Diagonal Cero. Ofrecemos una tarjeta con su firma, y una enigmática ilustración con signos y símbolos matemáticos y otros y un juego de números utilizando el año 1967. Argentine Avant-Garde. Cardboard with "Wishes for mathematical apiñes for 1967". Cardboard 22.7 x 15.7 cms., signed by Vigo. Edgardo Antonio Vigo was an Argentine artist, born in 1928 and died in 1997, connected from his youth with European vanguards. He was the founder and collaborator in various outstanding magazines of the period, among them the experimental magazine Diagonal Cero. We offer a card with his signature and an enigmatic illustration with mathematical and other signs and symbols and a numbers game utilizing the year 1967. 1 volumen(es)/volume(s) S.P. páginas [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Libreria de Antano (ILAB & ABA Members)]
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        Jahrbuch '67.

      (Köln) Wolfgang Hake Verlag () 1967 - Breit 4°. 31 Blatt. OBr. Eines von 100 numerierten Exemplaren, mit den 14 Originalgraphiken, jeweils von den Künstlern signiert: Stefan Wewerka/Diter Roth (mitgebundene Bleistiftzeichnung, Unikat von Roth, signiert D.R. 67.), Otmar Alt, Karl Heinz Krüll, Wolf Vostell, Horst Antes (Seriegrafie unberührt), Erwin Bechtold, Dieter Glasmacher, Jobst Meyer, Detlef Birgfeld, Reinhold Koehler, Werner Nöfer, Ed Kiender, Siegfried Neuenhausen. Texte von Ernst Jandl (beerensammler im wienerwald), Reinhard Döhl, Friederike Mayröcker, Helmut Heissenbüttel, Gerhard Rühm, Franz Mon, Jürgen Becker, Konrad B. Schäuffelen, Peter O. Chotjewitz, Peter Rühmkorf, Peter Handke (tageslauf), Walter Höllerer u.a. Herstellerisch vorbildliches Werk, vornehm gedruckt in magerer Helvetica. Schönes Exemplar dieses Dokuments deutscher Pop Art. Im folgenden Jahr hat Hake das Vogelfuttermultiple von Roth aufgelegt. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Georg Fritsch Antiquariat]
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        Présentation de Sacher-Masoch

      1967 - - Paris 1967, 14x22,5cm, broché. - Edition originale pour laquelle il n'a pas été tiré de grands papiers. Envoi autographe daté et signé de Gilles Deleuze à un couple de ses amis. Ouvrage illustré d'un portrait de Sacher-Masoch en frontispice et comportant le texte intégral de "La Vénus à la fourrure" traduit par Aude Willm. Deux petites déchirures en têtes d'une garde et de la page de faux-titre, une autre en pied du premier plat, agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Edition of wich no leading copies exists. autograph dedication of the author autograph signed and dated Gilles Deleuze to a couple of his friends. Illustrated book of Sacher-Masoch portrait frontispiece and including the complete text of "Venus in Fur" translated by Aude Willm. Two small tears in the heads of a guard and the half-title page, another Length of the first flat, nice copy. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Milton A Poem.

      4to. (277 x 218 mm). Original quarter brown morocco over marbled paper-covered boards, t.e.g., marbled paper-covered card slipcase; ff. [59], including 50 coloured facsimile plates printed by collotype in two colours and hand-coloured by the pochoir method and 1 monochrome plate reproducing the original preface; the spine of the volume evenly sunned, otherwise a very good copy. Edition limited to a total of 426 copies. This copy one of 380, numbered 273. Blake's penultimate illuminated book, the last being Jerusalem. The present facsimile was reproduced from the Rosenwald copy held at the Library of Congress, Washington, D.C., being the most complete of the four extant copies. In the commentary Geoffrey Keynes describes the main theme of the poem as 'an account of how Milton, realizing the errors he had committed during life, descended to Earth and entered into Blake. Communing intimately with Blake's mind, Milton achieves self-annihilation, so becoming the perfect man and saviour of the world.' Keynes further notes that 'The epic as a whole contains many passages of exceptional beauty and provides numerous clues useful for the elucidation of Blake's symbolism and philosophy.'

      [Bookseller: Henry Sotheran Ltd.]
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        Maschinengeschriebener, datierter und eigenhändig signierter Brief an Rochus Kowallek.

      Düsseldorf, 23.7. 1967 - 21 x 29,5 cm. 1 Seite. An den Herausgeber der "et 4, Deutschland Report" der edition et, Rochus Kowallek, zum Druck seines Beitrages "Oel auf Leinwand 28.12.66" für die Publikation. Der Brief gibt ein schönes Beispiel der Genauigkeit und der konzeptionellen Arbeit Richters, der vom Drucker etliches abverlangt, aber dann auch selbstkritisch ist: "Ich hoffe, dass das zu machen ist, dann würde es wahrscheinlich eine Grafik statt eine Reproduktion werden." Persönlich habe ich Zweifel, ob Richter mit dem Resultat zufrieden war; die Vorlage wurde horizontal stark vertikal gedruckt und "Das Weiss muss deckend gedruckt werden, sonst ist die Wirkung nicht zu erzielen". Leider fehlt die Vorlage. - Blatt mit Lochung am linken Rand und Mittelfalz.

      [Bookseller: Daniel Thierstein]
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        Food Happening (x + 1) Dedicated to Otto Muehl. - Typoskriptdurchschlag, signiert und datiert.

      24.3 1967 - 21,5 x 28 cm. 1 S. Der Radikalkünstler Jean Toche (geb. 1932) in Belgien, zog 1964 in die USA, wo er sich gegen den Vietnamkrieg und die politische Elite stellte. Ende der 60er Jahre lehnte er eine Einladung an das "Avant Garde Festival" in New York aus politischen Gründen ab. In den frühen 70er Jahren gründete er zusammen mit Jon Hendricks in New York die GUERILLA ART ACTION GROUP. Er organisierte mehrere Aktionen und Happenings, mit denen er das New Yorker Kunstestablishment angriff und provozierte. Er ist involviert in politischer Mailart und versendet Flugblattsammlungen unter dem Titel "OF PISS @ N'PUS". Lebt in Staten Island (New York). - Der Text ist eine Persiflage auf die Aktionen von Otto Muehl. Der Spielplan endet im Maschinengewehrlärm. - Dazu: Speisehappening. Übersetzung des Textes von Tomas Schmit. 1 S. Typoskript. Der Text war vorgesehen für die Anthologie "Spielpläne" der edition et die nie erschien.

      [Bookseller: Daniel Thierstein]
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        TRAVELING SCULTPURE. A Means Toward A sound Record. - Typoskript namentlich bezeichnet. 1 Blatt.

      (Ca. ) 1967 - 21,5 x 27,5 cm. Typoskript des ursprünglich 1960 geschriebenen Textes, der 1963 in der Anthology of Chance Operations von La Monte Young erscheinen sollte, jedoch von Morris kurzfristig zurückgezogen wurde. "Traveling Sculpture" war eine der wichtigsten frühen Performance/Skulpturen auf der Grundlage von Körper und Raum. Morris versuchte nach der gescheiterten Publikation, den Text in der Anthologie "Spielpläne" der edition et zu veröffentlichen, was leider auch nicht gelang. Der Text wurd erstmals 2008 in der Dissertation von Janet McCann "Walter de Maria: The Lightning Field" im Anhang S. 340 abgedruckt. - Das Blatt mit wenigen Korrekturen und mit Mittelfalz.

      [Bookseller: Daniel Thierstein]
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        Opus 49: The beginning of the film. - Typoskript mit Planzeichnung in Filzstift.

      () 1967 - 21 x 29,5 cm. 1 S. Originalmanuskript für eine "Filmvorführung", bei der den Zuschauern die Filmrolle auf die Sitzereihen ausgerollt und Bild für Bild weitergereicht wird. - Es existiert eine gefilmte 16mm Version des Happenings bei der "Film-Makers-Coop".

      [Bookseller: Daniel Thierstein]
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        Interview. - Typoskript, Mit maschinenschriftlicher Namensbezeichnung.

      (Ca. ) 1967 - 21,5 x 27,5 cm. Typoskript einer Performence, zu der vertrauenswürdige Leute eingeladen werden. Nach Empfang der Interviewten wird ihnen ein Papier zur Unterschrift vorgelegt, das die Interviewer vor allem weiteren Vorgehen juristisch befreit. Nach einiger Zeit wird dem zu Interviewenden Marijuana angeboten. Verweigert er den Konsum, wird er umgehend zum Ausgang begleitet. Mehrere Personen beginnen das Interveiw mit Fragen zur Person, Herkunft etc., um immer weitere persönliche, provokative und beschämende Fragen zu stellen, was zu einer Konfliksituation führt - Mit schwachem Mittelfalz. Von Robert Morris per Email vom 10.9.2015 als authentisch bestätigt.

      [Bookseller: Daniel Thierstein]
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        Ereignisse aus Schaustücken mit Gegenständen aus Kunststoff unter Verwendung von Feuer, Luft, Wasser und Erde. - Programm und Plakat zur Vorstellung

      Berlin, Akademie der Künste. Veranstalter: edition et und Galerie René Block. 15. März 1967 - gefaltet 16 x 34 cm. ungefaltet 48 x 68 cm. 2 Seiten mit 5 s/w.Abbildungen. Originalausgabe. - Hökes Neo-Dada-Happening machte ihn dank dem tumultösen Verlauf der Veranstaltung über Nacht in ganz Deutschland bekannt. Der genaue Verlauf des Happenings wurde in der Zeit vom 24. März 1967 geschildert. Bereits die Ankündigung und das Plakat mit einem, für damalige Zeiten, spärlich bekleideten Schaustück als Blickfang und der Ankündigung des Spielplanes mit nackter Haut, Wasser, Feuer und Kunststoff mit dem Abdruck aus Höke's "Notizen zu Schaustücken und Ereignissen" wurde zum Aufhänger. Unserem Exemplar sind 4 (der 5) s/w Fotos in Originalabzügen in verkleinertem Format (12,5 x 24 cm) beigegeben.

      [Bookseller: Daniel Thierstein]
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        Sculpture Sermon.- Typoskriptdurchschlag, in Schreibmaschine namentlich bezeichnet und mit 1961 datiert.

      (Ca. ) 1967 - 2 Blatt. 21,5 x 27,5 cm. Das Manuskript steht im Bezug zur im gleichen Jahr entstandenen "Box with the Sound of Its Own Making" und den 1963 entstandenen "Memory Drawings". "A simple thing is needed/ And about which nothing is to be done/ Like a shape which weighs something/ Even past ideas?" Wie gehen wir um mit der Idee der Erinnerung daran und der Frage danach. "Perhaps then there are only stories/ Which we tell words or shapes still stories sounds and colors are also wild tales" - Von Robert Morris per Email vom 10.9.2015 als authentisch bestätigt. - Mit Klammerheftung und Mittelfalz.

      [Bookseller: Daniel Thierstein]
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      Complete collection of sheets and notes related to the "12 Evenings of Manipulations" destructionist art happening which took place at the Judson Gallery in New York from October 5 through October 22, 1967, with instructions and notes on various destruction art pieces including Lil Picard "Construction Destruction Construction", Geoff Hendricks "Sky/Change", Malcolm Goldstein "State of the Nation", Carolee Schneemann "Divisions + Rubble", Jean Toche "Labyrinths and Psychological Stress", and others, some accompanied by photocopied photographs of the art piece as they occurred. Illustrated throughout. 8to., some sheets folded. Housed in original printed paper envelope, contents loose as issued, some small tears and soiling to envelope. New York (Judson Gallery) 1967. The Judson Publications Manifesto, which is included in this grouping and signed by Ralph Ortiz, John Hendricks, Al Hansen, Lil Picard, and Jean Toche, describes the group as "anti-profit...The Judson Publication is a unique communique to you from artists who are concerned with the corruption of culture by profit. We believe the function of the artist is to subvert culture, since our culture is trivial. We are intent on giving a voice to the artist who shouts fire when there is fire; robbery when there is a robbery; murder when there is a murder; rape when there is a rape. Judson Publications will attempt to serve the public for as long as the trivial culture of the establishment distracts us from the screams of crises." As of February 2017, WorldCat locates six holdings in the United States.

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

        Omosuper materialaktion.

      (Wien), Zock Press 1967 - 14,9 x 21,1 cm. Titel, 12 num.Seiten. Originalumschlag mit Stempeldruck. Noever S. 406. - Originalausgabe. - Auf dem Titelblatt handschriftlich mit rotem Filzstift mit "20" nummeriert. Gedruckt als Matrizendruck und Karbonkopie. Titelblatt auf rosafarbenem Papier im Stempeldruck. - Der Text beginnt mit einer Auflistung von 39 Aktionen. Durch die Erwähnung des "Grimuides Konzert", das im Februar 1967 stattfand, lässt sich die Schrift auf Frühjahr 1967 datieren. Es folgen Manifeste zur Materialaktion von 1964, 1965, 1965, Totalaktion 1966, Supermarkt 1966, Materialaktion-Totalaktion 1966, immerimmeraction. - Mit grösster Wahrscheinlichkeit von Muehl als Textbeitrag für die geplante Anthologie "Spielpläne" der edition et geschickt. - Die teilweise nicht sorgfältig gefalteten A4Blätter mit einigen Randläsuren. Of the greatest literary value is Mühl’s manifesto written to accompany the 1967 "Zock" festival, a stream-of-consciousness satire that, though clearly a parody of the very idea of revolutionary manifestos, is refreshingly fearless and still socially relevant. (A. Grossman).

      [Bookseller: Daniel Thierstein]
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        New York: The New Art Scene...

      New York: Holt, 1967. FIRST EDITION, SIGNED AND INSCRIBED BY MULAS on the half-title: "ad mio dottore Harry Grabstald, con affetto Ugo Mulas N.Y. M.H. 1972." A MAGNIFICENT COPY IN THE SCARCE SLIPCASE. Mulas's classic photographic study of the vibrant New York art scene in the 1960s, illustrated with over 500 photographs of major artists including Roy Lichtenstein, Jasper Johns, Marcel Duchamp, Andy Warhol, Robert Rauschenberg, and many others."Inspired by the strong American presence at the 1964 Venice Biennale, the Italian photographer Ugo Mulas made three extended visits to New York over the following years. The result [is this] massive, handsomely designed volume [that] captures the art world at one of its most volatile and vivid peaks...[Mulas] was ideally suited to infiltrate that scene as a sympathetic and unobtrusive observer...With more than 500 photos reproduced in heavily inked, knockout black-and-white, the book has a marvelous scope. Its arresting cover image--a pair of New York cops confronting a gaggle of bohemians at a party in Andy Warhol's Factory--isn't typical, but it suggests something of the scene's exhilaration and notoriety..." (Vince Aletti; Roth 101).Text by Alan Solomon. New York: Holt, Rinehart, Winston, 1967. Quarto, original linen, original photo-illustrated dust jacket; original cardboard slipcase. Book fine, extremely bright dust jacket in outstanding condition with only two tiny closed tears at top of spine end and small, nearly invisible tape reinforcement on verso spine ends and flap fold. Small circular orange sticker over price. An exceptional copy -- the finest we've handled -- of an extremely difficult book to find in collectible condition, very scarce signed and with the original slipcase. Very Good / Very Good....

      [Bookseller: The Manhattan Rare Book Company]
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        Contract for "The Green Knight" 5th December 1967.

      One contract of 6 pages, typescript on thin typing paper 32.5 x 20 cm stapled to red card backing, signed by Mick Jagger, Christopher Gibbs and Nigel Lesmoir Gordon, plus Marianne Faithfull, Jagger's then girlfriend, as witness; with a typescript film treatment of 16 pages stapled together at top left, 29 x 22 cm, with manuscript annotations; a little chipping to folds, a little browning, very good. This unique pair of documents records a highly ambitious project that sadly never came to fruition. As Marianne Faithfull recalls in Faithfull: An Autobiography (2000): "Mick began taking acting lessons ...Then there was THE MAN WHO SHOT MICK JAGGER and a whole slew of hippie projects. Christopher Gibbs and Nigel Gordon had written a script based on the mystical Middle English romance GAWAIN AND THE GREEN KNIGHT. Mick was going to play the Green Knight - Mick and Keith do the Middle Ages!" (pp. 149-50). Not only was Jagger going to star, this was also likely to be his debut as a producer. The contract here is between Jagger and Christopher Gibbs, his interior designer, and Nigel Gordon, a film editor working for the producer David Cammell, to produce a 25 page treatment of the legend of Sir Gawain to be called provisionally, The Green Knight. The two writers were to begin work on Christmas Day 1967 and deliver the treatment by 1st May 1968. We cannot be sure when the pair delivered their work, but it was nine pages short and had transformed from The Green Knight into The story of Venus and the quest for Arthur's kingdom, a tale set initially in a Welsh gold mine in 1700 and New York in 1968 before settling on an Arthurian England of knights, mystical ladies and an improbable red floating sphere. The project never went any further than this, but it is a fascinating snapshot of the projects that Jagger, the Rolling Stones and the counter-culture in general were beginning to get involved in as the 1960s progressed and their ambitions grew. Neither was this the end of the road for Gibbs and Gordon as film collaborators with Jagger - Gibbs was employed as Consultant Designer on Jagger's breakthrough film Performance, while Gordon's boss David Cammell, the brother of the movie's director Donald Cammell, was a co-producer.

      [Bookseller: Henry Sotheran Ltd.]
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        rhythmus r. mörbisch, august 1958 oswald wiener gewidmet. - Originaldruckvorlage des Autors mit handschriftlichen Korrekturen, Streichungen und Paginierung.

      (s.l., s.n., s.d.) () 1967 - 19 x 25 cm. Titel, Blatt 1 -9, 11-12, 14. In losen Blättern unter grau bedrucktem Hochglanzkarton. Weibel, Die Wiener Gruppe S.562-569 und S. 784 . - Von Rühm zusammengestellte Originaldruckvorlage mit handschriftlicher Pagination der Blätter, eigenhändigen Korrekturen auf Blatt 5 und Korrekturen am Umschlag. - Der 1958 in Mörbisch am Neusiedlersee geschriebene Text gilt heute als eines der zentralen Bücher der Konkreten Poesie. Ursprünglich sollte der Text im Verlag von Volker Magdalinski erscheinen. Der Projekt zerschlug sich aus finanziellen Gründen. Magdalinski hatte für Rühm bereits Probeabzüge hergestellt. Damals lernte Gernhard Rühm seine spätere Frau die Verlegerin Renate Gerhardt kennen die das Projekt weiterführte und einige wenige Exemplare als Privatdruck veröffentlichte. Rühm entschied sich 1968 für eine grössere Auflage beim Rainer Verlag, der dafür ein neues Titelblatt und die Widmung an Oswald Wiener neu setzen liess. - Die vorliegende Druckvorlage in einem unbekannten Einbandentwurf. Die Blätter sind handschriftlich durchnummeriert. Blatt 5 mit 4 handschriftlichen Korrekturen von Rühm, die aber in den späteren Drucken stehen blieben. Der hier vorliegenden Druckvorlage fehlen das Blatt 10, gedruckt auf Sandpapier, sowie das Blatt 13, auf bedrucktem Transparentpapier. Laut Aussagen von Gerhard Rühm wurden die beiden Blätter beim Druck zerstört. Im Katalog von Weibel ist die hier vorliegende, ursprüngliche Fassung abgedruckt, die ohne Verlagsangabe, Ort und Jahr gedruckt wurde. "rhythmus r", ein Schlüsselwerk Gerhard Rühms, verwirklicht das Programm des sprachlichen Konkretismus konsequent mit allen Sinnen. Als "absolutes Buch" setzt der Text verschiedene Sprachstile in Laut- und Schriftbilder um. Die Printversion nutzt die mechanische Flexibilität der Schreibmaschine und kommuniziert den assoziativen Inhalt durch die räumliche Anordnung von R-Wörtern. Beim Lesen wandert das Auge die Seiten hinauf und hinunter, Kolumnen von R-Wörtern werden zu Texträndern, das Leitmotiv "regen rauscht" rinnt kaskadenförmig über die Seiten. Die akustische Variante stellt laut Rühm eine "Eins-zu-Eins-Übertragung" von der Schrift in die Stimme dar. Regen rauscht, Papier zerreißt hörbar und die HörerInnen swingen im Takt der Verben-Reihe "rauscht reibt rast" mit.

      [Bookseller: Daniel Thierstein]
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        Mai magyar grafika 1967.

      (O.O., o. Dr., ) 1967 - 50,5x35,5 21 signierte Originalgraphiken. Lose in OHLn.-Mappe. Sehr guter Zustand. Mit 21 signierten Originalgraphiken von Csohány Kálmán (im Rand leicht fleckig), Feledy Gyula, Gacs Gábor, Gross Arnold, Gyulai Liviusz, Hincz Gyula, Kass János, Kondor Béla, Kondor Lajos, Lenkey Zoltán, Major János, Maurer Dóra, Gy. Molnár István, Pásztor Gábor, Raszler Károly, Reich Károly, Rozanits Tibor, Stettner Béla, Szabó Vladimir, Varga Nándor Lajos und Würtz Ádám. [Attributes: Hard Cover]

      [Bookseller: Biblion Antiquariat]
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      First edition, one of 80 numbered copies on Hollande, tirage de têteA fine copy. Gallimard Paris 1967 14,5x20,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Auguste Bolte

      First edition of the French translation, one of 60 numbered copies and justified by the publisher with, frontispiece, lithography Max Ernst shot in sepia on China and signed by the artist, the only major paper. One of 20 copies which include an additional condition of the blue pulled lithograph on China and also signed by Max Ernst.Stamp of Alex Grall collection.Rare and beautiful copy.L J. Hugues Paris 1967 11,5x22cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Gallimard. First edition, an advance (service de presse) copy. Handsome autograph inscription from André Malraux to Georges Simenon and his wife.Spine slightly wrinkled at head and foot, a good copy. Gallimard Paris 1967 14x20,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Courir les rues

      Gallimard. First edition, an advance (service de presse) copy.Handsome autograph inscription from Raymond Queneau to Marguerite Duras.A good copy. Gallimard Paris 1967 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        L'extase matérielle

      First edition, one of 36 numbered copies on Hollande, tirage de tête.One small trace of sunning, not serious, to foot of spine.A good copy.  Gallimard Paris 1967 14,5x21,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Richard Avedon Beatles Posters

      A set of all four original Beatles Posters complete with the black and white Banner. Produced in 1967 from photographs and designs by Richard Avedon. These were simultaneously published in England, Germany and the USA. These are from the German edition published by STERN Magazine. In England they were published in approximately the same size by the Daily Express. The American versions were published by 'Look Magazine' and were slightly bigger. The Posters are 68 x 48cm approx. The banner is 36 x 102cm approx. All are laid down on white canvas in the manner acceptable to collectors. There is one thin scratch mark on George Harrison in the banner. The canvas overlaps the posters with a border of approx. 3cm all round. The bottom edges of the canvas are slightly frayed and creased but when framed this would not be seen.

      [Bookseller: David Maynard]
 34.   Check availability:     PBFA     Link/Print  

        A Model of Leptons

      1st Edition Physical Review Letters: American Physical Society, 1967. FIRST EDITION of Steven Weinberg's model of the electroweak force, one of the essential components of the standard model of particle physics. Weinberg shared the 1979 Nobel Prize in Physics for his "contribution to the theory of the unified and weak electromagnetic interaction." "As Steven Weinberg tells the story, there was Isaac Newton's theory of gravity, 'intended to explain the movements of the celestial bodies and how such things as apples fall to the ground; and there was James Clerk Maxwell's account of electromagnetism as a way to explain light, radiation, magnetism, and the forces that operate between electrically charged particles.'" The quantum revolution "introduced two new forces, both operating at very short range, within the nucleus of the atom. The strong force holds the particles of the nucleus together and is very strong... The other is known as the weak force, which is responsible for radioactive decay. And so, until the 1960s there were four forces that needed to be reconciled: gravity, electromagnetism, the strong nuclear force, and the weak radioactive force" (Peter Watson, The Modern Mind).At Berkeley in 1967, "Weinberg produced a gauge theory that correctly predicted electromagnetic and weak nuclear forces. This was later to become known as the electroweak theory. In his paper, 'A model of leptons', he showed that although electromagnetism is much stronger than the weak force of everyday energies, the only way to devise a theory of the weak force is to include the electromagnetic force. Weinberg showed how what was seemingly impossible could be achieved and the forces could be unified through the interchange of particles in spite of the difference in their strengths. Abdus Salam had independently reached the same conclusions and what became known as the Weinberg-Salam model was a major advance on earlier models that had originally been applied to leptons... In 1979 Weinberg shared the Nobel Prize for Physics for this work with Salam and his old school friend Sheldon Glashow, who had extended the work that Weinberg and Salam had independently developed" (Chris Cooper, Physics).The discovery and description of the electroweak force has been confirmed experimentally and now is one of the essential elements of the "standard model" of particle physics. "By 1988, Weinberg's three-page paper in the Physical Review was the most frequently cited paper in elementary particle physics since the end of World War II" (Lightman, The Discoveries). Particle Physics: One Hundred Years of Discoveries; Brian Greene, The Elegant Universe.In: Physical Review Letters, Vol. 19, 1967, pp. 1264-66. Quarto, modern wrappers (without original wrappers); custom box. Fine condition. Fine.

      [Bookseller: The Manhattan Rare Book Company]
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        Moondog Yearbook 1

      NY: [NP], [1967]. [30]pp. Red string tied wraps lettered in black darkened, light vertical crease throughout, else a very good copy of an uncommon book. The 'Yearbook' consists of poems made up of nine couplets that correspond to Hardin's alternative calendar system of nine day weeks and along "comparative calendar that maps out how the system as a whole is structured. Louis Thomas Hardin, known as Moondog was a blind American composer, musician, poet who lived as a street musician busking mostly on the corner of 53rd street and 6th avenue and because of his homemade outfit which included a horned helmet, became known among some as the 'Viking of Sixth Avenue". Written off by some as some street eccentric, Hardin's work has influenced such better known composers as Steve Reich and Philip Glass, has had several songs dedicated to him by the likes of Marc Bolan among others. Uncommon with OCLC showing only three holdings, [one of which we handled].

      [Bookseller: Kenneth Mallory, ABAA]
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        Le lettrisme devant Dada et les nécrophages de Dada !

      Centre de créativité. First edition, one of 50 numbered copies on Arches, tirage de tête. Centre de créativité Paris 1967 14,5x22,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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      José Corti. First edition, one of 53 numbered copies on Lafuma, tirage de tête after 15 vélin de Rives.A very good copy. José Corti Paris 1967 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Nouveau recueil

      Gallimard. First edition, one of 36 numbered copies on Hollande, tirage de tête.A fine copy. Gallimard Paris 1967 14,5x21,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Le lettrisme devant Dada et les nécrophages de Dada !

      Centre de créativité. First edition, one of 50 numbered copies on Arches paper, ours unjustified, deluxe edition.Precious autograph signed by Maurice Lemaître Eric Losfeld below the justification of the draw: "... specially made for Eric Losfeld fifteen years of friendship Sky (but not efficient)." Lemaitre 67. "Our copy does not contain the original drawing of Maurice Lemaître accompanying Top 50 Arches paper.Rare and beautiful copy. Centre de créativité Paris 1967 14,5x22,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Gallimard. First edition, one of the 35 copies numbered on "pur-fil" paper, the only large paper copies .Nice copy. Gallimard Paris 1967 12,5x20cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Gallimard. First edition of the French translation, one of the 26 copys numbered on pure vellum wire only leading copies.Bound in red half shagreen with corners, back with five nerves, marbled paper plates, guards and contreplats rougte of paper, wrappers and back preserved and bound in, gilded head.Beautiful copy. Gallimard Paris 1967 14,5x22cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Comedians. Collection of 19 vintage black-and-white single weight reference photographs from the UK release of the 1967 film.

      8 x 10 inches. 19 photographs. Stills have tiny pinholes (some multiple) at the corners, and light wear at the extremities, one photograph with reapired chip to lower edge, otherwise in very good condition. The notations on the verso of each photograph have been crossed through in black marker. The last of 5 screenplays written by Graham Greene, 4 of which were adapted from his novels. British director Peter Glenville signed on for the production, which was co-produced by the US and France. The fourth of 10 films starring both Richard Burton and Elizabeth Taylor, and a role for which Taylor cut her normal $1 million salary in half when Glenville told her Sophia Loren had been offered the part. The images include 3 photographs of Burton and Taylor in amorous clinch.

      [Bookseller: Henry Sotheran Ltd.]
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        La femme rompue. Monologue. L'âge de discrétion

      Gallimard. First edition, one of 40 numbered copies on Hollande, tirage de tête.A fine copy  Gallimard Paris 1967 13,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Original painting in gouache and wash with gold highlights on heavy art paper depicting parts of the interior of "The Old Met" in New York at 1411 Broadway between 39th and 40th Streets during a performance, the audience on numerous tiers. Signed "Gropper" at bottom right. Undated, but ca. 1965-66, very close to the date of demolition of "The Old Met" in 1967....

      508 x 380 mm. (20" x 15"). Unframed. Remnants of paper tape to upper margin of verso. Gropper, a social realist, was a pupil of George Bellows and Robert Henri. He was active in New York as a painter, lithographer, cartoonist, and illustrator. His work is held in New York by both the Museum of Modern Art and the Metropolitan Museum of Art in New York. Deeply involved in the radical politics of the 1920s and 30s, Gropper contributed to such left wing publications as The Revolutionary Age, The Liberator, The New Masses, The Worker, and The Morning Freiheit. He went on a tour of Soviet Russia with the novelists Sinclair Lewis and Theodore Dreiser in celebration of the 10th anniversary of the Russia Revolution in 1927. During the second half of the 1930s, he dedicated his art to efforts to raise opposition to fascism in Europe. After visiting Eastern Europe in 1948, he decided to make one painting a year as a memorial to the victims of the Warsaw Ghetto. Gropper was called before the House Un-American Activities Committee in 1953. "The Metropolitan Opera said goodbye to its old house on April 16, 1966, with a sentimental gala farewell performance featuring nearly all of the company's current leading artists. The long time Met star soprano Zinka Milanov made her last Met appearance that night and among the many invited guests was soprano Anna Case who had made her debut at the house in 1909. The final performance at the opera house was given not by the Met but the Bolshoi Ballet, which concluded a short run of appearances on May 8, 1966... Despite a campaign to preserve the theater, it failed to obtain landmark status and the old Met was razed in 1967. " Wikipedia The present painting was executed very close to the date of the farewell performance referred to above....

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