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Displayed below are some selected recent viaLibri matches for books published in 1968

        Senza titolo

      Ariete Grafica, 1968. Litografia originale su lastra litografica di zinco, firmata in basso a sinistra. Al retro dichiarazione di V. Agnetti . Cm 90 x 69. . Ottimo (Fine). Tiratura 90 esemplari.

      [Bookseller: Studio Bibliografico Marini]
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        Business Cards.

      1968. RUSCHA, Edward with Billy Al BENGSTON. Business Cards. Unpaginated artist's book with 18 black-&-white illustrations. 8vo, bound in original wraps preserved in a new cloth box. 1968.|~||~||~||~||~||~| |~||~||~||~||~||~| First edition, 1968. Signed by Ruscha and initialed by Billy Al Bengston. Photographs illustrating the concept of a "business card exchange." Scenes depicted include the collection of various business cards, their display, and a dinner celebrating this project. A polaroid is mounted on the front cover. A fine copy.

      [Bookseller: Ursus Rare Books]
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        The Hunting of the Snark. An Agony in Eight Fits/Die Jagd nach dem Schnark. Agonie in acht Krämpfen.

      (Stuttgart): Manus Presse, 1968. Quarto. (104)pp. One of 130 copies, signed by the artist. Illustrated with nineteen full-page lithographs from etchings by the surrealist Max Ernst. There are also three small vignettes. This is a bilingual edition of Carroll's nonsensical epic poem about a crew of ten men in pursuit of a mythic beast. Vividly colored illustrations are paired with the original English poem, and the same images are repeated in stark black & white to accompany the German text, translated by Klaus Reichert. The Hunting of the Snark was created late in Ernst's career and was the second of three works by Lewis Carroll illustrated by him. Born in Germany, Ernst began his career in art in the 1910s, inspired by the work of post-Impressionist artists and Pablo Picasso. Although primarily a painter, he also branched out into collage, sculpture, and lithographic printing, and he finally achieved financial success after the publication of his treatise, "Beyond Painting," in 1948. Loose, as issued, in publisher's cloth chemise and slipcase. Slight fading, soiling, and a small bump to slipcase, otherwise fine.

      [Bookseller: Bromer Booksellers]
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        Poèmes

      First edition, one of 100 hors commercenumbered copies on B.F.K. de Rives, the only large paper copies with 662 other B.F.K. de Rives.Handsome autograph inscription dated Février 1968 and signed from Samuel Beckett to his friend the painter Geer (Van Velde) and his wife Lise.Samll stains to upper cover, marginally and slightly sunned. "What to say of the sliding planes, the shimmering contours, the cut-out figures in the fog, the balance that any little thing can break, breaking and re-forming themselves under our very eyes? How to talk about the colors that breathe and pant? Of the swarming stasis? Of this world without weight, without force, without shadow? Here everything moves, swims, fells, comes back, falls apart, re-forms. Everything stops, non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature" (The van Veldes' Art, or the World and the Trousers, in Cahiers d'Art n°11-12, Paris 1945).Beckett here is not talking - despite how it may appear - about his literary oeuvre, but about the paintings of Geer Van Velde, going on to add a few lines later "[Bram] Van Velde paints distance. G[eer] Van Velde paints succession." This elegy, published on the occasion of the double exhibition of the Van Veldes (Geer at Maeght's and Bram at the Galerie Mai) is the first important text on these painters, more or less unknown to the public at the time: "We've only just started spouting nonsense about the Van Velde brothers, and I'm the first. It's an honor." This is also the first critical text written directly in French by a young Irish writer who had not, as yet, published anything in France.Thus, the first and most important of Beckett's writings on art, composed at the dawn of his literary career, establishes - right from the start - a fundamental relationship between his developing work and his friends' art: "Thus this text has often been read in a hollow or in the mirror, as one of the rare designations of Beckett's poetry (to come) by the man himself, a sort of anamorphic program of writing," (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar).A real statement of dramaturgical intent, this fundamental text whose introspective value Beckett lays out from the introduction on ("one does nothing but tell stories with words") ushers in the writer's most fruitful creative period. In essence, like Apollinaire and Cendrars, Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through "the deepest questioning of narrative, figurative or poetical presuppositions" (Pascale Casanova in Beckett l'abstracteur).The major influence of modern painting on the narrative structure - or destructuring - of Beckett's drama and novels would be pointed out and examined by a number of thinkers, among them Gilles Deleuze, Julia Kristeva and Maurice Blanchot. It was, in fact, with the art of the Van Veldes (first Geer then Bram) that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot, since: "the set must come out of the text without adding anything to it. As for the visual comfort of the audience, you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set, or see anything other than him?" (Letter to Georges Duthuit, 1952).When he met Geer in 1937, "Beckett was going through a major existential crisis and had just been reworking his first novel, Murphy, which had been rejected by a great many publishers. He was lost in alcohol, leaving Ireland and moving once and for all to Paris" (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). He returned from a long artistic journey in Germany, where he was marked by classical works as well as contemporary art - it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating the Moon, his source for Waiting for Godot.Art was thus at the heart of his creative thinking and the friendship that would tie him to Geer and later his brother Bram and their sister Jacoba (with whom his relationship may have been more than merely friendly), and which would profoundly influence his life and writing. His first writing on art is a short piece on Geer Van Velde, whose works he pressed on his new lover Peggy Guggenheim when she set up her new London gallery. Despite the relative failure of the exhibition (which followed Kandinsky's), he got his friend a one-year scholarship from Peggy. James Knowlson even thinks that "if Beckett maintained close links with Peggy for a long time, it was first and foremost because she could be convinced to give his artist friends a serious helping hand, starting with Geer Van Velde" (in Beckett, p. 474). Enigmatic, the little piece that Beckett wrote at the time at Peggy's request already contained a dramaturgical kernel of thought: " Believes painting should mind its own business, i.e. colors. i.e no more say Picasso than Fabritius, Vermeer. Or inversely."   Slower to develop, his friendship with Bram and interest in the latter's painting slowly changed Beckett's outlook on Geer's art and when, ten years after his first meeting the brothers, he wrote The World and the Trousers,  Beckett brought up to date a duality symbolized by the title, taken from an anecdote given as a legend to the article. The world is the "imperfect" work of God, made in six days, to which the tailor compares the perfection of his trousers, made over six months.The link between this anecdote and the Van Velde brothers is perhaps to be found in the second essay Beckett devoted to them, in 1948, Peintres de l'empêchement [Painters of the Problem] (Derrière le miroir n° 11/12) : "One of them said: I cannot see the object in order to represent it because I am who I am. There are always two sorts of problems - the object-problem and the 'eye-problemGeer Van Velde is an artist of the former sortBram Van Velde of the latter."Resistance of the object or impotence of the artist, this tale, the "true primary narrative core in kôan zen form," (P. Vilar) would later find itself scattered throughout Beckett's work and would more specifically take centre stage in Endgame, whose similarity, by the by, with the art of Geer Van Velde was noted by Roger Blin. "At the time, he was friends with the Dutch brothers Geer and Bram Van Velde, both painters. Geer was a painter in the style of Mondrian. I have the feeling that Beckett saw Endgame as a painting by Mondrian with very tidy partitions, geometric separations and musical geometry," (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    Beckett's growing affinity for Bram Van Velde's work and the energy he put into promoting his work, especially to the galerie Maeght or his friend the art historian Georges Duthuit, was no doubt to the detriment of his relationship with Geer. Nonetheless, despite some misunderstandings, their friendship remained unbroken; as did the silent but anxious dialogue that the writer maintained with the art of the younger Van Velde brother, two of whose large canvases he owned. "The big painting by Geer finally gave me a sign. Shame that it should have turned out so badly. But perhaps that's not true after all" (letter to Georges Duthuit, March 1950). "Geer shows great courage. Ideas that are a little cutting, but maybe only in appearance. I have always had a great respect for them. But not enough, I think" (letter to Mania Péron, August 1951)The death of Geer Van Velde in 1977 affected Beckett deeply and coincided with a period of intense nostalgia during which the writer decided to give himself over to "a great clear-out" of his house so as to live between "walls as grey as their owner." Confiding his state of mind to his friend, the stage designer Jocelyn Herbert, Beckett bore witness to the indefatigable affection he had nurtured for the painter over forty years: "more canvases on display, including the big Geer Van Velde behind the piano."A precious witness to the friendship of these fellow travelers who had, ever since checking the veracity of the game of chess played by Murphy and Mr. Endon for Beckett's first novel, tackled together the great challenges of modernity: "It's that, deep down, they don't care about painting. What they're interested in is the human condition. We'll come back to that" (Beckett on the Van Velder brothers in The World and the Trousers). Les éditions de minuit Paris 1968 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        A Hall of Mirrors

      London: Bodley Head. (1968). The first British edition of his first book, a novel of drifters in New Orleans in the early Sixties caught up in the web of a quasi-religious political machine. Winner of the William Faulkner Award for best first novel of the year as well as a Houghton Mifflin Literary Fellowship Award. Signed by the author. A very uncommon edition, with a single printing estimated to have been 1000 copies. This edition reprints a glowing blurb by Wallace Stegner, Stone's teacher at the Stanford Writing Workshop, with a humorous misprint: instead of printing that "Stone writes like ... someone so high on pot that he is scraping his shoes on the stars," this edition has Stegner saying that Stone was "scraping his shoes on the stairs" -- a very different image, to be sure. Basis for a film, WUSA (the call letters of the right-wing radio station that figures prominently in the book), starring Paul Newman, Joanne Woodward and Anthony Perkins. A fine copy in a slightly spine-tanned dust jacket, else fine. A very nice copy, and uncommon signed. First Edition. Hardcover. Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA]
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        The Mountains.

      4to., Quarter dark green morocco gilt, over green cloth boards, top edges gilt, slipcase, pictorial endpapers; pp. 42, 10 wood engravings by Reynolds Stone after drawings by Piper, with an extra set of the ten plates tipped-in and bound in at the rear of the volume; a bright, fresh copy. Provenance: O.C. Hugo, with his Leo Wyatt designed book label to the verso of the ffep. One of a total edition of 350 copies. This copy one of 110 copies numbered I-CX, signed by the author, artist and engraver, and with an extra set of the ten engravings. Designed and printed by Will and Sebastian Carter at the Rampant Lions Press, in the Palatino types designed by Hermann Zapf on mould-made paper from Wookey Hole Mill and bound at the Cambridge University Press. This copy numbered XLVII.

      [Bookseller: Henry Sotheran Ltd.]
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        Drafts and Fragments of Cantos CX?CXVII.

      New York: New Directions & The Stone Wall Pres,, 1968. Quarto. Original red cloth, title label to spine. With the publisher's card slipcase bearing title label. Spine somewhat sunned, one or two gutters just cracking, but an excellent copy, with the slipcase splitting at the back and somewhat faded around the edges, but still intact and presentable. Signed limited edition, number 81 of 200 copies for New Directions, from a total edition of 310 copies (there were 10 reserved for the Stone Wall Press) signed by the author. Gallup considers the 100 copies for Faber, though virtually identical, to be of a different printing. This copy also has the publisher's errata slip laid in. These Drafts and Fragements present, as Pound's final lifetime publication, his last contributions to the magnum opus of his Cantos.

      [Bookseller: Peter Harrington]
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        EDIPO RE. Versione italiana di Manara Valgimigli. Acquaforti di Manzù.

      Editiones Officinae Bodoni, 1968. In-folio p. (mm. 380x280), legatura edit. in mz. marocchino rosso, piatti in Linson avorio con al centro la testa di Edipo (eseguita da Manzù) impressa a secco, pp. 100 a fogli sciolti. Il volume è contenuto in una scatola in Linson rosso con etichetta in carta Ingres avorio e titolo in nero, applicata sul quadrante anteriore. Tragedia greca nella traduzione di Manara Valgimigli, con 7 acqueforti originali di Giacomo Manzù. Cfr. Cat. Mardersteig,154. Importante edizione di 114 esempl. numerati. Il ns., 6, fa parte della tiratura di 105 su carta a tino Magnani, con firma autografa di Manzù. In perfetto stato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        IL LAGO DI COMO. SEDICI INCISIONI ORIGINALI

      1968. Como B.N.E.L. 1968 4° astuccio in cartonato marrone con titolo al piatto. Dorso unpoco danneggiato. Cartella stampata in 350 copie numerate non venali, in occasione del XII Congresso internazionale dell'exlibris, con il contributo della Camera di commercio di Como. Impaginazione di Roberto Menotti, cura di Aldo Galli, introduzione di Giuseppe Ghielmetti, raccoglie 16 incisioni d'ispirazione lariana, tutte numerate e firmate a mano dagli artisti: Lino Bianchi Barriviera, Stefania Bragaglia Guidi, Mario Calandri, Augusto Cernigoj, Amleto Del Grosso, Antonio Pettinicchi, Tranquillo Marangoni, Carmela Pozzi, Jolanda Schiavi, Dolores Sella, Giacomo Soffiantino, Virgilio Tramontin, Gianluigi Uboldi, Remo Wolf (due tavole), Italo Zetti. Ottimo esemplare, raffinata edizione. Nostra copia N° 27

      [Bookseller: Libreria antiquaria Segni nel Tempo]
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        African American Montage - WWII thru 1970 Civil Rights Movement

      Photographic Image. Illus. by Illustated with photos. Very Good. Hardcover. A montage expressing Black pride and the community's participation in American life; spanning the WWll years through the civil rights marches and the 1968 Presidential campaign. This is an artful intermingling of family photos, wire service photos, newspaper items and images. Unique.

      [Bookseller: Peter Austern & Co. Books & Ephemera / B]
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        Luigi Spacal. Opera grafica. 1936 - 1967. Testi di Rodolfo Pallucchini e Franco Russoli. Catalogo a cura di Giulio Montenero.

      Edizioni di Vanni Scheiwiller (stampa: Tipografia U. Allegretti di Campi - tavole Graphis, Trieste), 1968. in 8° oblungo cofanetto in tela editoriale grigia con titoli impressi in blu (confezione ad hoc per la tiratura di testa) Raro e pregiato catalogo della mostra personale al museo Revoltella di Trieste. Splendide le tavole, stampate con un metodo a rilievo. Bell'oggetto, oltre che importante repertorio iconografico. Esemplare 70 / 100 nella tiratura di testa (tiratura comune di 900 es.), completo della silografia originale numerata e firmata a mano dall'artista.

      [Bookseller: Libreria Pontremoli]
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        Secret Marriages.

      Manchester: Phoenix Pamphlets Poets Press, 1968 - Octavo. Original red cloth. With the dust jacket. A fine copy in the slightly toned jacket. First edition, first impression. Signed limited edition, number 23 of 50 copies signed by the author. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Setting Free The Bears

      Random House, N.Y. 1968 - First Edition/First Printing. Fine (one corner pushed, light rubbing at base of spine) in like dust jacket (crease on front flap). A highly collectible copy of this acclaimed author's 1st book! [Attributes: First Edition; Hard Cover]

      [Bookseller: Bob's Rare Books]
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        Inni omerici

      Edizioni dell'Elefante,, Il tridente, 1968. Tradotti di Filippo Maria Pontani. Introduzione di Giorgio Seferis. Dieci illustrazioni originali di Corrado Cagli riprodotte al tratto a piena pagina. Folio (cm 53x36,5). pp. 180. Ottimo (Fine). Edizione originale di 500 es. numerati e firmati.

      [Bookseller: Studio Bibliografico Marini]
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        Natura in posa all'italiana

      Roma: Il Torcoliere, , 1968. Serigrafia originale a colori su specchio. Cm 45x60 (Specchio 54x69). . . .

      [Bookseller: Studio Bibliografico MArini]
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        Ken Cox Memorial (on yellow paper)

      A South Street Publication, Sherborne, Dorset 1968 - Print. Double-sided screenprint/ lithograph, 57x50.3cm. Dom Sylvester's memorial to the artist Ken Cox, who died in November 1968 after a tragic accident. This double-sided print was printed at the Compton Press, Salisbury, in green and orange on yellow stock. The verso side of the print features silkscreen in two colours together with the title and date. Recto, printed in black, contains the full length title "Ken Cox Memorial/Sun-Cheese wheel-ode, a double-rolling-gloster memorial for kencox" and the complex workings of Houedard's Consonant and Vowel System as well as acknowledging Semi-Bold Flaxman by Edward Wright. Circa 300 prints were produced on white, pink and yellow stock. This copy being on yellow stock. The letters K- E- N- C- O- X are missing from the composition - reflecting the loss of the artist. Condition: fine A historic print - the concrete poetry movement mourning the loss of their most prominent sculptor. [Attributes: First Edition]

      [Bookseller: William Allen Word & Image]
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        ANCIENT EGYPTIAN ONOMASTICA. 3voll

      oxford university press, 1968. 3 volumi in ottime condizioni, copertina rigida con sovracopertavol. 1 - Testi 220 ppvol. 2 - Testi 310 ppvol. 3 (grande formato) - 26 Tavole di cui alcune ripiegate

      [Bookseller: Messinissa Libri]
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        Senza titolo

      Milano: Ariete Grafica, , 1968. Ottimo (Fine). Litografia originale su lastra litografica di zinco, firmata in basso a sinistra. Al retro dichiarazione di V. Agnetti. Cm 90 x 69. . Ottimo (Fine). Tiratura 90 esemplari.

      [Bookseller: Studio Bibliografico MArini]
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        Mercure. (Mercury.)

      Basel: Werbungs- und Commerz Union Anstalt, 1968 - Excellent condition. Presented in a lime wax ash frame with UV filtered glass. Drypoint etching in colours on Japon nacré paper. Plate size: 17.5 x 12.5 cm. Sheet size: 44.5 x 31.8 cm. Edition of 75. Signed in pencil lower right by Dalí, numbered lower left. One of 15 plates from the portfolio Quinze Gravures. Field 68-4C. Michler & Lopsinger 286

      [Bookseller: Peter Harrington. ABA member]
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        LUIS BUNUEL

      Berkeley: University of California Press, 1968. 1st Edition. Hardcover. Very Good. Tay Garnett (1894-1977) was one of the great American film directors of Hollywood's Golden Age, best known for the MGM film noir masterpiece, The Postman Always Rings Twice. This is a presentation copy to him from another great film director, who was one of the subjects in his book DIRECTING: LEARN FROM THE MASTERS, published posthumously in 1996. Inscribed by Luis Bunuel to Tay Garnett "To Tay Garnett with/ my good wishes / and friendship./ Luis Bunuel" . Luis Bunuel was a highly acclaimed Spanish director who, along with Salvador Dali and Federico Garcia Lorca, formed the core of the Spanish Surrealist movement. Laminated pictorial covers over cloth spine, worn about edges . spine slightly soiled. Issued without dustjacket.

      [Bookseller: Johnnycake Books ABAA, ILAB]
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        Giant Night (Signed)

      No Place: Angel Hair, 1968. First edition. Paperback. Very Good +. Folio. Severely uncommon correct first printing of Anne Waldman's first book. A very good plus to near fine copy in tall (14") side-stapled wrappers with striking black, white and red cover artwork by George Schneeman. A three page poem, printed on rectos only. SIGNED by the poet. The poem has a printed date of December 3, 1967, but this title did not get published until early in 1968 by Angel Hair. Printed in an edition of 100 copies. Among the first publications of this press. Not to be confused with the later 1970 reprinting by Corinth.

      [Bookseller: Derringer Books, Member A.B.A.A.]
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        Afghanistan / Salaam Aleikoum / Salaam Aleikum / Saraamu Areicomu / Saramu Areikomu

      Tokyo: Shaken, 1968. Hardcover. First edition, first printing. Fine hardcover in the original clear vinyl dust jacket, now lightly yellowed and soiled at the edges with no tears or chips. A very nice copy. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX. Tomatsu's extremely scarce documentary photo-essay on Afghanistan in the early 1960s; the third book issued by Shaken, the publishing house he started in 1967. Photographs and text by Shomei Tomatsu (1930-2012.) Unpaginated; 101 full-page gravure-printed b&w plates + 1 map; 7-5/8 x 8-7/8 inches. Text in Japanese. LAID-IN are two publisher's leaflets for the other two books issued by Shaken, Nihon and 11:02 Nagasaki. Due to size and weight, international and expedited shipping will be more than quoted.

      [Bookseller: A&D Books]
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        Werkmeister, Wolfgang. - "Ein Fluß mündet ins Meer".

      - Radierung / Aquatinta, auf BFK-Rives-Bütten, 1968. Von Wolfgang Werkmeister. Auflage Exemplar Nr. 27/30. 34,8 x 45,0 cm (Darstellung / Platte) / 49,5 x 64,5 cm (Blatt). Werkmeister II 66. Rechts unter der Platte in Bleistift signiert und datiert, links betitelt sowie mit eigenhändiger Auflagenbezeichnung versehen. Am Blattrand links unten Prägestempel "Druck Werkmeister" und Wasserzeichen "BFK Rives France". - Am oberen Blattrand unscheinbar fingerspurig. Verso rEste einer ehemaligen Montierung. Sonst sehr schön erhaltenes Exemplar. Wolfgang Werkmeister (*1941 Berlin, lebt und arbeitet in Hamburg). Deutscher Grafiker, bedeutender Vertreter der zeitgenössischen Radierkunst. 1960-64 Besuch der Akademie der Bildenden Künste Stuttgart, Fachklasse für freie Grafik und Illustration bei Gunther Böhmer. 1965 Besuch der Fachhochschule für Gestaltung Hamburg bei W. M. Busch und S. Oelke. 1966-68 tätig als Pressezeichner. 1972/73 Dozent an der Fachhochschule für Gestaltung, Hamburg. Zahlreiche Auslanfsaufenthalte und Stipendien in Marokko, USA, auf den Kanarischen Inseln, etc. 2001 Kunstpreis der Stadt Baden-Baden. Zentrales Ausdrucksmittel ist die Radierung, genauer die Aquatinta, in der er Landschaft als Hauptmotiv regelrecht zelebriert und in technisch ebenso aufwändigen wie raffinierten Blättern druckgrafisch umsetzt. Stilistisch siedelt sein Werk zwischen einem geschickt eingesetzten Fotorealismus und der lakonischen Bildsprache eines Ansel Adams. [Attributes: Signed Copy]

      [Bookseller: GALERIE HIMMEL]
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        Andrew Wyeth. First edition signed & inscribed by Andrew Wyeth.

      Boston: Houghton Mifflin, 1968 - First edition, oblong folio (17½” x 13¼”), pp. (8), 174, (1) colophon, (1) blank, signed & inscribed by the artist on the title: "To my dear friend Joe /Andy." Also inscribed on the half-title “To Rosalie & Joe/ from a great admirer/ & friend with great affection/Peter Knendler”. Original white lettered brown buckram backed brown lettered cream colored buckram in original color pictorial dust jacket. Fine clean bright copy in very good dust jacket not price clipped but with some scuffs and very short closed tears. Sheets clean, unmarked, complete. H7334 [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: J & J House Booksellers, ABAA]
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        Multiplo

      Milano: Achille Mauri, , 1968. Ottimo (Fine). Multiplo in PVC bianco non firmato, realizzato per il volume "Enrico Castellani Pittore",  con testo di Vincenzo Agnetti - editore Achille Mauri, Milano. Cm 30 x 30. . Ottimo (Fine). Tiratura 1000 esemplari.

      [Bookseller: Studio Bibliografico MArini]
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        Oeuvres complètes : 3 volumes

      Slatkine Reprints, 1968. gebundene Ausgabe Ausgetragenes Bibliotheksexemplar, mit einzelnen leichten Gebrauchsspuren Versand D: 2,90 EUR

      [Bookseller: Versand-Antiquariat Konrad von Agris]
 26.   Check availability:     buchfreund.de     Link/Print  


        FEDERICO FELLINI / THREE TYPED SIGNED LETTERS (1968-69)

      1968 - Archive of correspondence between Federico Fellini and Daniel Selznick regarding Satyricon and The Voyage of G. Mastorna Archive of three typed letters signed from Federico Fellini to Daniel Selznick (along with carbons of Selznick's several letters in reply, as well as an associated memo), written in 1968 and 1969, making reference to "Satyricon" and more specifically to "The Voyage of G. Mastorna," a film project very dear to Fellini that held great interest for Selznick as well -- but was never produced. Mastorna loomed over the second half of Fellini's career, the masterpiece that was perpetually in revision and on the director's mind. Marcus Perryman, in his introduction to The Journey of G. Mastorna: The Film Fellini Didn't Make (Berghahn Books, 2013) writes: "[Fellini] shrouded the film in mystery partly to keep open the option of making it. Every new project he worked on after his 'Satyricon' had first to get past the recurring thought, illusion or delusion of 'Mastorna.' After the initial failure, Fellini tinkered with the script for the next ten years. He came close to returning to it after 'Il Casanova,' which his analyst considered to be an important step in his self-therapy and one that 'Mastorna' would have extended further. "By his own admission, he repeatedly plundered the script for his new films: for the airport scene and award ceremony in 'Toby Dammit,' for the pope's regalia in 'Fellini Roma,' for verbatim inclusions and characters in 'Amarcord.' 'Prova d'orchestra' investigates the world of orchestral music, to which Mastorna belongs, albeit focusing more on the conductor as dictator than the musician as acolyte; 'La città delle donne' has numerous affinities with the unmade film. The bus and motel in 'Mastorna' are very much like Ginger's bus and motel and 'Mastorna' includes one of Fred's dance routines. Some said 'Ela nave va' was 'Mastorna' in disguise. . Fabrizio Borin calls Mastorna the character Fellini 'thought about, continually returned to, abandoned, repudiated, sought out, feared, hated and never created." Daniel Selznick, the son of David O. Selznick, is best known as a producer for films such as Peter Bogdanovich's Targets (1968) and various documentaries about Hollywood. His association with his father allowed him many opportunities to meet and correspond with numerous actors, actresses, and directors of note. Two letters in English, one in Italian, the latter with typed translation. 8 ½ x 11 in. Varying stock, all folded for mailing, NEAR FINE [Attributes: Signed Copy]

      [Bookseller: Walter Reuben, Inc.]
 27.   Check availability:     IberLibro     Link/Print  


        CONCLUSIONALE SU LEOPARDI ED ALTRI STUDI

      A. LONGO, RAVENNA 1968 - IL PORTICO ITALIANO Pagine in buonissimo stato di conservazione, brossura editoriale con alette, leggermente ingiallita e con lievi segni di usura La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 999,00 euro.

      [Bookseller: Biblioteca di Babele]
 28.   Check availability:     AbeBooks     Link/Print  


        THE GARDEN / THE JOURNAL OF THE ROYAL HORTICULTURAL SOCIETY 1968-2011 (43 volumes)

      Royal Horticultural Society 1968 - paperback in hardback folders, 12 issues in each folder for a complete run of 43 volumes, (volumes 93-136 in the series), in 1976 the name of the Journal was shortened to 'The Garden' and the size increased, a good run in good binders and of course an extremely heavy collection which will incur an addiitonal postage request [Attributes: Soft Cover]

      [Bookseller: Pendleburys - the bookshop in the hills]
 29.   Check availability:     AbeBooks     Link/Print  


        La Place De L'Étoile - 1st Edition/1st Printing

      Gallimard, Paris 1968 - A handsome first printing of the first edition in Fine condition, only minor tanning to pages, in original wraps with French flaps; Nobel Prize winner Patrick Modiano's first novel, also winner of the Roger Nimier Prize and Fénéon Prize, is the account of Raphaël Schlemilovitch, a Jewish collaborator. In June 1942, a German officer walks up to a young man and asked: "Pardon, monsieur, où se trouve la place de l'Étoile?" The young man points to the left side of his chest; [iv], 150, [4] pages [Attributes: First Edition; Soft Cover]

      [Bookseller: Books Tell You Why - ABAA/ILAB]
 30.   Check availability:     AbeBooks     Link/Print  


        Luigi Spacal. Opera grafica. 1936-1967. Testi di Rodolfo Pallucchini e Franco Russoli. Catalogo a cura di Giulio Montenero.

      Edizioni di Vanni Scheiwiller (stampa: Tipografia U. Allegretti di Campi - tavole Graphis, Trieste) 1968 - Raro e pregiato catalogo della mostra personale al museo Revoltella di Trieste. Splendide le tavole, stampate con un metodo a rilievo. Bell'oggetto, oltre che importante repertorio iconografico. Esemplare 70/100 nella tiratura di testa (tiratura comune di 900 es.), completo della silografia originale numerata e firmata a mano dall'artista. -- Scheda tecnica: pp. 31 [5], 40 tavv. a colori f.t. ciascuna in una custodia di carta velina con numero e titolo, fogli sciolti in carta forte; allegato su carta a parte un facsimile di autografo di Giuseppe Montero, e un'incisione a piena pagina numerata e firmata dall'artista, conservata in bifolio semitrasparente protettivo. [Attributes: First Edition; Hard Cover]

      [Bookseller: Libreria Antiquaria Pontremoli]
 31.   Check availability:     AbeBooks     Link/Print  


        Two Songs

      The Phoenix Book Shop, New York 1968 - First edition. 24mo. String-tied wrappers with paper label. Near fine with sunning along the spine on the front wrap and some glue remnant at the label. Limited to 126 copies. This is an out of series copy with the ownership Signature of W.S. Merwin, two-time Pulitzer Prize winner for poetry. Auden had selected Merwin's first book, *A Mask for Janus*, to be part of the Yale Younger Poets Series. In 1971 the two had a public falling out in the pages of *The New York Times Book Review* after Auden criticized Merwin for detailing his objections to the war in Vietnam and his donation of his Pulitzer Prize money to the draft resistance movement. An interesting association copy. [Attributes: Soft Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
 32.   Check availability:     AbeBooks     Link/Print  


        DESCANT ON RAWTHEY'S MADRIGAL CONVERSATIONS WITH BASIL BUNTING

      [Lexington, KY]: Gnomon Press, 1968. Large octavo. Paper over boards, printed spine label. Portrait. A fine copy in dust jacket with minor use at the crown of the spine panel. First edition, deluxe issue. One of twenty- five numbered copies, specially bound and signed by Bunting and Williams, from a total edition of five hundred copies. "This book remains the single most important source for biographical information, even though Bunting has, through the passage of time, confused some dates" - Guedalla. Scarce in this issue. GUEDALLA A10b.

      [Bookseller: William Reese Company - Literature ABAA-]
 33.   Check availability:     Biblio     Link/Print  


        The Last Unicorn

      The Viking Press 1968 - First Edition, First Printing. In Very Good condition, in a price-clipped dust jacket. Previous owner address label to pastedown. Foxing to edge of page block. Stamping to spine cloth lightly rubbed. Boards show light spotting near upper edges. The dust jacket shows rubbing and edge wear, with a few short tears; sunning to spine and top edge of flaps. A nice copy. This book served as the basis for the film of the same name. [Attributes: First Edition; Hard Cover]

      [Bookseller: Burnside Rare Books]
 34.   Check availability:     AbeBooks     Link/Print  


        The Double Helix: A Personal Account of the Discovery of the Structure of DNA

      New York: Atheneum, 1968. First Edition. Hardcover. Like New. First edition. Fine in very Near Fine dust jacket, unclipped ($5.95) with tiny pencil mark to laminate of front panel, barely noticable sunning to spine panel. A lovely copy of the Nobel-winning biologist's memoir of his role in the discovery of the structure of DNA.

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


        Original Portrait of Ringo

      - Enormous original ink and watercolor portrait of Ringo by Heinz Edelmann, 31 x 47 inches, showing him in a Yellow Submarine-esque striped suit jacket against a psychedelic background. Framed and in very good condition, with scattered staining and soiling. Edelmann, a German illustrator and designer, is best known for his art direction and character designs for the Beatles' 1968 animated film Yellow Submarine. This work is unsigned and was presumably intended for some sort of display, possibly a performance set or event promotion. It may have been a preliminary draft for one of those things  - we have puzzled over the name spelling and frankly don't know what to make it of it. We acquired this from a French collector, who likewise didn't know what to make of that feature. But the piece is certainly contemporary to the period and based on the confidence and style of the line and overall impression, we feel confident in ascribing this to Edelman himself. However, as the work is unsigned, we must allow for the possibility it may have been executed by another hand, possibly an assistant or imitator. In any event, impressive in size and style, this is an extraordinary Beatles piece. 

      [Bookseller: Schubertiade Music]
 36.   Check availability:     AbeBooks     Link/Print  


        Mémoires d'un architecte

      Seuil 1968 - - Seuil, Paris 1968, 14,5x21,5cm, broché. - Edition originale, un des 280 exemplaires numérotés sur fleur d'alfa, le nôtre un des 55 réservés au Club de l'édition originale, seuls grands papiers. Signature manuscrite de Fernand Pouillon en dessous de la justification du tirage. Iconographie. Tampon imprimé de bibliophile en guise d'ex-libris en regard de la page de faux-titre. Petites traces d'insolation sans gravité en tête et en pied du dos, sinon agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition, one of 280 numbered copies on Alfa paper flower ours one of 55 reserved to the Club of the first edition, the only major paper. Pouillon handwritten signature under the justification of the draw. bibliophile print buffer as an bookplate next to the half-title page. Small traces of sunshine minor head and foot of the back, otherwise nice copy. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
 37.   Check availability:     AbeBooks     Link/Print  


        A Day for Anne Frank

      - The Falcon Press, Philadelphia, 1968. First edition of Williams's first published work: a poetic meditation inspired by the horrors of the Holocaust, with illustrations based on photographs of concentration camp victims. The volume was designed by Eugene Feldman and Sarah J. Williams, and printed by Feldman; this is => one of 1000 copies issued. 8vo (29.8 cm, 11.75"). [16] pp.; illus. Publisher's printed paper wrappers; tiny amount of rubbing to extremities. A nice copy of this uncommon debut from a major contemporary American poet. Signed inside front cover. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Pulaski Ave Books]
 38.   Check availability:     IberLibro     Link/Print  


        The Double Helix: A Personal Account of the Discovery of the Structure of DNA

      New York: Atheneum, 1968. First Edition. Hardcover. Like New. First edition. Fine in very Near Fine dust jacket, unclipped ($5.95) with tiny pencil mark to laminate of front panel, barely noticable sunning to spine panel. A lovely copy of the Nobel-winning biologist's memoir of his role in the discovery of the structure of DNA.

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


        A mezzo della notte

      Grafica Uno, 1968. 15 litografie a uno e 2 colori di Emilio Scanavino (cm 34x49,5). Poesie di Malabarba . 4to (cm 34x49,5). Ottimo (Fine). Edizione di 50 + XX + 4 H.C. es. numerati.

      [Bookseller: Studio Bibliografico Marini]
 40.   Check availability:     maremagnum.com     Link/Print  

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