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

        L'oeuvre au noir

      First edition on ordinary paper.Handsome autograph inscription signed by Marguerite Yourcenar to Bernard Gheerbrandt, a student of Gaston Bachelard's and founder of the La Hune bookshop and the Club des libraires de France : "à Bernard Gheerbrandt... Ces puissances de l'or, de l'esprit et de la révolte au XVIème siècle...[for Bernard Gheerbrandt...These golden forces from the spirit and the revolt of the 16th century]"A good copy complete with illustrated dust jacket (spine sunned), and some press clippings tipped in. Gallimard Paris 1968 14x20,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Poèmes

      Les éditions de minuit. First edition printed in 762 copies on vélin cuve B.F.K. de Rives paper, this one of 100 hors commerce copies. Autograph inscription signed by Beckett to Ludovic (Janvier) and his wife Agnès.Spine very lightly and insignificantly sunned. Les éditions de minuit Paris 1968broché

      [Bookseller: Librairie Le Feu Follet]
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        Eugène Brands: 12 Original Lithographs. MINT COPY.

      Copenhagen, Court Graphics, 1968. Cloth-covered embossed box with letterpress in black and red (hardcover), 40 x 32,5 x 2,5 cms., containing stiff wrappers (text in English and Danish by Virtus Schade) with 1 text-sheet (colophon), 12 lithographs (38,2 x 29,8 cms.) executed in colours, each one of them signed and numbered (95/100) in (white) pencil by Eugène Brands. Complete in cardboard slipcase. Lithographs worked directly by the artist, printed by Mogens Sandberg, Copenhagen and titled: 1 Girl, 2 Bird, 3 Face, 4 The night, an island, 5 Portrait, 6 Raising Sun, 7 Streaming against black, 8 Landscape in daytime, 9 Landscape at night, 10 A night, a festival, somewhere, 11 House at sunset & 12 Dark child. Lithos were printed on Hahnemühle Paper and are numbered 1-100. All this in mint condition. Brands, Eugène.

      [Bookseller: Luïscius Books]
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        London Knees’ by Claes Oldenburg.

      Editions Alecto Ltd, London 1968 - Two cast latex ‘Knees’ by Claes Oldenburg, coated with coloured polyurethane on a black Acrylic plastic base. Signed by Claes Oldenburg at the bottom of a ‘knee’ . Edition size of 120, published by Editions Alecto Ltd, London in association with Neuendorf Verlag, Berlin. Although published in 1968, it was began in 1966. Axon & Platzker state there were also 10 A/P’s, Exhibition set, 1 unsigned unnumbered set.’ ‘That the knees were cast by Models Ltd., London and coated by Hadfields Radiation Research Ltd., Surrey. Base by J.Watson and Co. Ltd., London. Incomplete set.The complete set would have consisted of ‘two ‘Knees’; two sewn felt bags; acrylic base; thirteen offset lithographs printed in one or four colours; three green cloth-covered paper-board folders; cloth-covered ‘travelling case’. [Attributes: First Edition; Signed Copy]

      [Bookseller: Roe and Moore]
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        Pantominas e etc.

      Grafica Uno, 1968. Five lithographs on stone and poem by Perisico Paris. 5 litografie su pietra (cm 17x78,5; 32,5x42) ed un poema in inglese di Perisico Paris. 16mo (cm 17x22). pp. 16+litografie. Ottimo (Fine). Prima edizione di 50 + 2 H.C. es. numerati. La prima fase della produzione artistica di Harold P. Paris fu dominata da una personale interpretazione dell'espressionismo astratto, per poi volgersi a una ricerca sull'espressività dei materiali in opere al limite tra la figurazione e l'astrazione. Nel 1963 è chiamato ad insegnare all'Università di Berkeley. Prime personali nel 1965 e 1967 alla Hensen Gallery di San Francisco. Nel 1969 ha luogo la sua prima personale in Europa allo Studio Marconi di Milano. Negli Anni Settanta si dedica a lavori ispirati alla Shoah e alla cultura ebraica, che espone al Jewish Museum di New York nel 1975. Nell'ambito della scultura realizza opere di respiro ambientale, vere e proprie installazioni percorribili dai visitatori. Dopo la sua morte nel 1979, l'Università di Berkeley gli dedica una retrospettiva itinerante che tocca diverse città degli Stati Uniti. (da ''Autobiografia di una galleria. Lo Studio Marconi 1965/1992'').

      [Bookseller: Studio Bibliografico Marini]
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        Tourmente N°1

      First edition of 130 numbered copies.With drawings by Alechinsky, Dufour and Hérold.Manuscript signatures by Michel Butor, Pierre Alechinsky, Bernard Dufour and Jacques Hérold on the justification page.A good copy in its chemise over marbled paper boards, title label pasted to upper cover.  Fata Morgana Montpellier 1968 23x30,5cm en feuilles sous chemise à lacet

      [Bookseller: Librairie Le Feu Follet]
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        Oologia Neerlandica. De eieren der in Nederland broedende vogels.The Hague, Martinus Nijhoff, 1910-1913[-1914]]. 2 volumes. Large 8vo (25 x 20 cm). With 191 plates containing 667 illustrations of bird eggs, namely 50 collotypes and 617 four-colour process engravings, after specimens in the author's collection. The illustrations mounted on thin card and the text printed on laid paper. Original brown half morocco, gold-tooled spines.

      - Anker 390; Balis, Van diverse pluimage 134; Nissen, IVB 709; Zimmer, pp. 651-652. First edition of a comprehensive account of Dutch bird eggs, giving brief introductions to the different species and extensive data relating to the eggs and breeding habits. It is the first Dutch work on eggs and still considered the standard work on the subject by Balis in 1968. Zimmer also praises the work because of its "unusual merits . This study embraces the texture, composition and pigmentation of the shell, the dietary and other causes for variation or peculiarity in ground-color or markings, and similar topics not usually discussed in oological handbooks".It was originally published in 7 parts from 1911 to 1914 in both English and Dutch, with 100 copies of the English edition and 150 of the Dutch.Only some occasional minor foxing to the text leaves and the plates leaves trimmed, shaving off a few plate numbers, otherwise in very good condition with the text leaves untrimmed, leaving all deckles intact. Binding also very good, only slightly rubbed on the marbled paper sides.

      [Bookseller: ASHER Rare Books]
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        Biggles and the Deep Blue Sea.

      Leicester: Brockhampton Press, 1968. Stated 'First Edition 1968'. Octavo, pp.184; 1 (list of titles). Later state binding of red cloth in similar state of the dustwrapper priced 12/- (60p) net -earliest issued were priced at 10s. (Roger Harris). These first edition sheets therefore bound and sold ca.1970-71, around the time of decimalisation. Dustwrapper has minor edgewear, bright, sharp and clean with some minor scuffing and creasing to extremtities, near fine. Overall a very good copy which shows well. Supplied in a fresh clear plastic archival sleeve. An attractive example of a scarce, late Biggles title, numbered 79 to the spine but in strict chronology of published titles this is the 91 of 98 series entries. Gift inscription to front flyleaf. One of the rarest Biggles titles! Further adventures of James Bigglesworth, better known in flying circles as "Biggles", the fictional pilot, air detective and global adventurer created by Captain W. E. Johns, who had first appeared in 'The Camels Are Coming' short story collection (1932). Johns continued writing Biggles short stories and novels up until his death in 1968; in all, nearly a hundred Biggles books were published. Biggles' heyday was the '40s and '50s- but by the swinging 1960s the intended market had moved on, and interest in the series waned, resulting in new titles being printed in increasing fewer numbers. These late titles are therefore rather elusive.

      [Bookseller: Adrian Harrington]
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        We Bombed in New Haven

      Alfred A Knopf, 1968. Al frontespizio firme autografe dei 15 attori della compagnia teatrale con la quale la commedia venne messa in scena a Broadway. On the title page signatures of the 15 actors who staged the play on a Broadway theater. 8vo. pp. 196. Lunga e significativa dedica con firma autografa dell'Autore all'attore Jason Robards, datata 10-16-68 (Substantial inscription signed by the Author to Jason Robards). Molto Buono (Very Good). .

      [Bookseller: Studio Bibliografico Marini]
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        Originalcollage auf Kitschpostkarte unter Verwendung eingetrockneter roten Farbe. Rückseitig signiert und mit handschriftlichem Text an die Herausgeber der edition et.

      Düsseldorf-Oberkassel, Drakerstr. 76, 8. Mai 1968 - 10,5 x 14,5 cm. Witzige Collagenarbeit, die aus einer besorgten Nachfrage ein Kleinkunstwerk werden lässt. "Lieber Höke oder Grützmacher, was ist los mit meinem SNOW; gibts schon Probeabzüge?". - Bei der edition et erschien SNOW mit dem Copyright 1966 und dem Vermerk von Dieter Roth "Den ursprünglich englischen text habe ich 1967 fuer die Herausgabe in der edition et uebersetzt". Die vorliegende Karte ist deshalb auch ein Beleg, dass das Erscheinungsjahr 1967 (s.Dobke S.164) nicht stimmen kann.

      [Bookseller: Daniel Thierstein]
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        L'espace littéraire

      Gallimard. New pocket-sized edition, review copy. Touching and valuable autograph signed by the author to his sister Marguerite: "To my dearest sister, Marguerite, this book, premises may be" the end of the book "with tender apology MB." Marguerite Blanchot, renowned organist Chalon Cathedral, remained all his life in the family home with his mother and aunt. "It will gradually become, for the family, as the memory of origins." Very close to Maurice, she regularly corresponded with the writer who reflects him great recognition for his dedication to their helpless mother. If intense affection Blanchot for his mother and his sister shines in dedications of it, we know almost nothing of their relationship. In the only biographical essay on Blanchot, Christophe Bident reveals, however: "Marguerite Maurice Blanchot worshiped his brother very proud of him, (...) it attached great importance to his political ideas (...) She read a lot (.... .) They phoned corresponded. A distance, they shared the same natural authority, the same concern for discretion. " Blanchot address him indeed many books from his library, now with her continuous intellectual link. Nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Gallimard Paris 1968 11x16,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Sol LeWitt / Ace / Dec. 3, 1968&Jan. 11, [1969] (poster)

      Los Angeles: Ace, 1968 Color offset lithograph. 18 inches / 45.6 cm square. Dark grids printed on process blue background. Folded in four, with soft creases in corners. Near fine. Includes original 9.5 x 12.5-inch mailing envelope postmarked November 27, 1968. **Free domestic or international shipping with direct order.

      [Bookseller: Laurence McGilvery]
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        No One Writes to the Colonel and Other Stoties

      Harper and Row, New York 1968 - First U. S. edition. Signed and dated '81 by Gabreil to the previous owner. Book is square, binding tight, pages clean, crisp. Spine head and tail somewhat soft, otherwise near fine. Dust jacket priced $5.95 , has some corner rubs, edge chips and spine head and tail has few small pieces missing. It is now in a protective cover. 170 pages. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Wolfmueller's Books]
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        No One Writes to the Colonel and Other Stories

      First Edition, as stated New York Harper & Row 1968 First Edition (so stated) of the author's first book published in English translation, a novella and eight short stories. 8vo: [4],170pp. Publisher's quarter-bound brick-red cloth stamped in burgundy, mustard paper-covered boards, fore-edge untrimmed, boldly patterned end papers, illustrated dust jacket priced $5.95. Virtually pristine, an exemplary example, apparently unread, showing all first-issue points ('H-S' code on copyright page, without number line on terminal leaf), in a bright, nearly flawless first-issue jacket (Jerry Bauer credited for photograph of the author on the back panel, date code 0968 on front flap), with just mild toning to top of the back panel and a minute, nearly unnoticeable rub at the front spine-panel fold. Truly a collector's copy. ¶ "Written between 1956 and 1957 and first published in 1961, the title novella (the book also includes a second, longer novella, Big Mama's Funeral) tells the story of an impoverished, retired colonel, a veteran of the Thousand Days' War, who still hopes to receive the pension he was promised some fifteen years earlier. The colonel lives with his asthmatic wife in a small village under martial law, during the years of "La Violencia" in Colombia, when martial law and censorship prevailed. They have lost their only son to political repression. In his memoir Vivir para contarla (Living to Tell the Tale, 2002), García Márquez explained that the story was inspired by his grandfather, who was also a colonel and who never received the pension he was promised. But it's also possible he drew inspiration from his experience of unemployment in 1956 after the newspaper he had been working for shut down, when he witnessed the lives of the many destitute around him. N. B. With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd.]
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        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). 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]
 23.   Check availability:     maremagnum.com     Link/Print  


        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]
 24.   Check availability:     Biblio     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. 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]
 25.   Check availability:     maremagnum.com     Link/Print  


        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]
 26.   Check availability:     ZVAB     Link/Print  


        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]
 27.   Check availability:     AbeBooks     Link/Print  


        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]
 28.   Check availability:     maremagnum.com     Link/Print  


        Natura in posa all'italiana

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

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


        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]
 30.   Check availability:     AbeBooks     Link/Print  


        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]
 31.   Check availability:     maremagnum.com     Link/Print  


        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]
 32.   Check availability:     Biblio     Link/Print  


        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]
 33.   Check availability:     ZVAB     Link/Print  


        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]
 34.   Check availability:     Biblio     Link/Print  


        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.]
 35.   Check availability:     Biblio     Link/Print  


        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]
 36.   Check availability:     Biblio     Link/Print  


        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]
 37.   Check availability:     AbeBooks     Link/Print  


        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]
 38.   Check availability:     AbeBooks     Link/Print  


        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]
 39.   Check availability:     Biblio     Link/Print  

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