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

        The Prydain Cycle: The Book of Three; The Black Cauldron (Signed); The Castle of Llyr; Taran Wanderer; and The High King

      NY: Holt, Rinehart, Winston, 1968. First edition, first printing. Hardcover. Fine/Near fine. First editions, first printings. Five volumes. The complete set of the Prydain Cycle. The books are all in fine condition. All dustwrappers are price-clipped, and all but "Taran Wandered" are lightly toned at the spine. "The Book of Three" and "The High King" are also rubbed along the spine. "The Black Cauldron" is inscribed by the author to "Jerry, with all best wishes". "The High King" dustwrapper is first state without the Newbery medal. This is Alexander's high fantasy masterpiece, based on Welsh mythology, and with roots in the Mabinogion, though inflated and changed around by the author. Overall this is the nicest set of stated first editions we have seen.

      [Bookseller: Thorn Books]
 1.   Check availability:     Biblio     Link/Print  


      - Les éditions de minuit, Paris 1968, 14,5x19,5cm, broché. - Edition originale, un des 100 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 662 autres B.F.K. de Rives. Précieux envoi autographe daté de Février 1968 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Agréable exemplaire. - [FRENCH VERSION FOLLOWS] Edition originale, un des 100 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 662 autres B.F.K. de Rives. Précieux envoi autographe daté de Février 1968 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Petites piqûres sur le premier plat marginalement et légèrement insolé.  « Que dire de ces plans qui glissent, ces contours qui vibrent, ces corps comme taillés dans la brume, ces équilibres qu'un rien doit rompre, qui se rompent, et se reforment à mesure qu'on regarde ? Comment parler de ces couleurs qui respirent, qui halètent ? de cette stase grouillante ? de ce monde sans poids, sans force, sans ombre ? Ici tout bouge, nage, fuit, revient, se défait, se refait. Tout cesse, sans cesse. On dirait l'insurrection des molécules, l'intérieur d'une pierre un millième de seconde avant qu'elle ne se désagrège. C'est ça la littérature. » (La Peinture des van Velde ou Le monde et le pantalon, in Cahiers d'Art n°11-12, Paris 1945)   Beckett ne parle pas ici, malgré les apparences, de son

      [Bookseller: Librairie Le Feu Follet]
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        Moby Dick, the Passion of Ahab; Twenty-Six Lithographs by Benton Spruance Text by Lawrance Thompson

      [Barre, Mass. , Barre Publishers], 1968. First Edition. Very good copy in the original clam-shell portfolio; corners slightly bumped with minor dust-toning to the panels. Thompson's text and the poems appear in a seperate pocket booklet. Additional bibliographic detail &c. On request. ; 26 pages; Description: 1 portfolio ([10], 26 l. , 26 plates) 58 cm. Subjects: Sea stories --Illustrations. Whales & Whaling in art. Related Names: Thompson, Lawrance Roger, 1906-1973. Melville, Herman, 1819-1891. Moby Dick.

      [Bookseller: MW Books Ltd.]
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      [Bookseller: Studio Bibliografico Kinzica]
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        L'espace littéraire

      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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        Outer Dark

      Random House, NY 1968 - Quarterbound teal cloth, gray boards stamped in black, titled in silver and blue gilt, dark topstain. Stated first printing. Erased PO name and bit of paper clip rust to ffep, slight ridge to spine, trace softening to spine ends else near fine or better condition. The DJ in mylar with $4.95 flap price intact has paper clip ghost to flap, bit of very shallow chipping to spine ends and very mild edgewear. ; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        Die Dionysischen Sarkophage

      4 vols., XLIII, 575 pp. study and catalogue of Roman sarcophagi decorated with Dionysian themes, including types of figures included, analysis of characters, festivals depicted, meaning of animals and in depth treatment of the myths, bibliography, index, concordances, text illustrations, 492 plates. Sm. folio. Cloth. Berlin (Gebr. Mann Verlag) 1968-1975. (Die Antiken Sarkophagreliefs, 1) Arntzen & Rainwater K60. Part of a monumental work essential for research on the era, and surprisingly scarce.

      [Bookseller: F.A. Bernett Books]
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        Ennemonde et autres caractères

      First collected edition, one of 63 numbered copies on Hollande, tirage de tête.A very good copy. Gallimard Paris 1968 12,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Please plant this book

      San Francisco / Santa Barbara: Printed by Graham Mackintosh for the author, 1968. 8 poems printed on varicolored packets containing seeds for California Native Flowers, Calendula, Carrots, Lettuce, Sweet Alyssum Royal Carpet, Squash, Shasta Daisy, and Parsley, held in a 6x7 inch photo-decorated folder of which the bottoms have been folded and glued to form pockets - the edges of these pockets have come unglued. Cover features three sweet sepia pix of a little girl in a garden. Although Brautigan printed 6,000 copies of this, his third and final self-published book, copies with all 8 packets are rare. (Our source, who helped put the packets together, tells us she never saw the mythical ninth packet of marijuana seeds).

      [Bookseller: Bolerium Books Inc., ABAA/ILAB]
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        Nine Swimming Pools and a Broken Glass

      Los Angeles: Edward Ruscha, 1968. First Edition. Trade Paperback Trade Paperback. Near Fine. Color reproductions of ten Ruscha photographs, with the complete contents listed in the title. Interleaved with many blank pages. One of the artist's classic conceptual art books. First edition (first printing). Fine in wrappers with the original glassine a bit tanned at the spine and with tiny nicks at the corners. A lovely copy, but a bit fragrant from storage in a garage.

      [Bookseller: Eureka Books, ABAA]
 10.   Check availability:     IOBABooks     Link/Print  

        Storia universale dell'arte UTET in 10 volumi

      1968. AUTORE AA. VV. TITOLO Storia universale dell'arte UTET in 10 volumi LINGUA Italiano LUOGO (editore/traduttore) Torino - UTET ANNO DI PUBBLICAZIONE/EDIZIONE Anno di stampa vari secondo i volumi FORMATO 20x26,5 TIPO COPERTINA cartonata in tela con fregi e scritte in oro sul dorso e sul piatto, sovraccoperta N° PAGINE 4600 circa ILLUSTRAZIONI in Bn. DESCRIZIONE LIBRO Opera completa in 10 volumi così divisi: Volume I Arte preistorica ed extra europea (ristampa del 1968) Volume II tomo 1 L'arte della Grecia (anno di stampa 1967) Volume II tomo 2 Arte di Roma (anno di stampa 1961) Volume III tomo 1 Medioevo (anno di stampa 1957) Volume III tomo 2 Medioevo (anno di stampa 1957) Volume IV tomo 1 Quattrocento Cinquecento (anno di stampa 1964) Volume IV tomo 2 Quattrocento Cinquecento (anno di stampa 1968) Volume V tomo 1 Seicento e Settecento (anno di stampa 1955) Volume V tomo 2 Seicento e Settecento (anno di stampa 1955) Volume VI Ottocento e Novecento (terza edizione 1962) I volumi sono in ottime condizioni senza strappi e le copertine sono in ottime condizioni, le sovraccoperte sono in ottime condizioni nei piatti e nei retri, nei dorsi alcune sono brunite e quella del tomo 2 del volume III ha un piccolo strappo (vedi foto)

      [Bookseller: AMARCORDLIBRI]
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        Dampfbügeleisen (Die Schwiegermutter).

      - Lithographie in Braun, 967/68, auf festem Velin, signiert. Darstellungsgröße 46:36,7 cm, Battgröße 69,8:50,2 cm. Prachtvoller, satter Druck, mit dem Schöpfrand rundum. Literatur: Zwirner/Klapheck 6 A (von B). Nr. 69 von 80 Exx. Erschienen als Jahresgabe der Kestner-Gesellschaft, Hannover, 1968. Klapheck war Professor an der Kunstakademie Düsseldorf und gilt heute als Klassiker der Nachkriegs-Avantgarde.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Dürer: the Life and Work of the Artist. Translated Diane Goldrei

      Thames & Hudson (Dolphin Art Books), 1968. Paperback. Used; Acceptable. Paperback; English language; a fair reading copy. Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent Royal Mail airmail.

      [Bookseller: Sunrise Books Ltd]
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        2001, A Space Odyssey

      New American Library, New York 1968 - Near fine in a near fine price clipped dust jacket. The jacket has just the slightest of wear to the spine ends. [Attributes: First Edition; Hard Cover]

      [Bookseller: James Graham, Bookseller, ABAA, IOBA]
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        Chitty Chitty Bang Bang. The Magical Car. Illustrated by John Burningham.

      London: Jonathan Cape Ltd., 1968,1964, 1965. SET OF THREE VOLUMES, FIRST IMPRESSIONS. Complete. Octavos, pp. 48; 48; 48. Bound in publisher's white card boards in glossy pictorial dustwrappers. A used yet presentable set with some expected wear, price-clipped but corresponding to the bibliography [Gilbert]. The wrappers have a couple of chips and tears, some shelfwear and age-related toning, discreet backing tape to third volume. A very good, serviceable trio in the original format; the UK edition was only available as a three-decker until 1968, when the first single volume was published by Pan Books. Cape's omnibus hardcover followed in 1971. A classic adventure story featuring a high-spirited family and their magical car. Fleming's captivating tale formed the basis for the Oscar-nominated film musical, scripted by Roald Dahl. Gilbert A17a (1), A17a (4), A17a (6).

      [Bookseller: Adrian Harrington]
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        Italian Pictures of The Renaissance: Italian Pictures of the Renaissance. A List of the Principal Artists and their Works with an Index of Places.

      London: Phaidon Press, 1957-1968. - Complete in seven volumes. Venetian School, 1957 (2 volumes), xiv, 206 pp., 628 illustrations, frontispiece in colour; and 705 illustrations & 46 pp. Florentine School, 1963 (2 volumes) xiv, 222 pp., 590 illustrations, frontispiece in colour; and 888 illustrations & 39 pp. Central Italian and Northern Italian Schools, 1968. (3 volumes) v. 1. Text.--v. 2. Plates 1-994.--v. 3. Plates 995-1988. 533 pp., plus plates 265 x 180 mm. Canvas cloth, brown lettering, without dustwrappers. A good to very good set [Attributes: Hard Cover]

      [Bookseller: David Strauss]
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        Fong and the Indians (First Edition, inscribed by Theroux to literary editor Michael Ratcliffe)

      Houghton, Mifflin, Boston 1968 - First Edition. INSCRIBED by the author and dated in the year of publication on the front endpaper: "For Michael Ratcliffe / with best wishes / Paul Theroux / 23 Oct, 1968." Ratcliffe was literary editor at the Times during the period when Theroux was writing reviews for that publication. The author's second novel, with a vibrant jacket design by Jerry Pinkney. Fine and unread in a just about Fine dust jacket. A lovely copy. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Royal Books, Inc., 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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        Juden und Araber - Die grosse Feindschaft

      Bechtle Verlag , 1968 , Leinen ohne Schutzumschlag , 212 S. , gut erhalten

      [Bookseller: Buecherkeller Delitzsch]
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        [Screenplay]: The Wild Bunch

      Warner Bros. - Seven Arts Inc.. 1968. Screenplay. Quarto. 128pp. Brandbound in printed goldenrod studio wrappers with "Final" noted on the front wrap and white, blue, and pink interior pages. Distribution page (with receipt intact) and title page both present; marked "2/7/68" and "Change 2/12/68." General wear with a couple of spots, bumping and small tear at the edges of the wraps, very good or better. The screenplay for Sam Peckinpah Western revisionist classic The Wild Bunch released in 1969 to much critical and popular praise. The film followed a group of aging outlaws after a robbery gone bad, struggling to reach the Mexican border with bounty hunters on their trail and who are forced to make a final stand in a small village. The film signaled a late career resurgence for actor William Holden and was noted for its unflinching portrayal of indiscriminate violence, reflecting the growing conflict in Vietnam. The film was nominated for an Academy Award for best original screenplay and the film has since become an acknowledged classic of American cinema. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 20.   Check availability:     IOBABooks     Link/Print  

        The Balliet, Balliett, Balliette, Balyeat, Bolyard, and allied families

      Baton Rouge, La. Thos. J. Moran's Sons, Inc. 1968. Red cloth with gilt lettering ina glossy red dustjacket. 994 pages : illustrations, coats of arms (some color), facsimiles, forms, genealogical tables, map, portraits. Genealogy of three Balliet families. Paulus Balliet (1717-1777) emigrated from France to Whitehall Township, Pennsylvania in 1738. He married Marie Magdalena Wotring (1721-1802). Joseph Balliet was born in Lorraine, France, son of Abraham Baillet and Susanna Hahn. Joseph came to the U.S. in 1749 and settled in Heidelberg Township, Pennsylvania. Johannes Balliet (1746-1831) settled in Sugar Loaf Valley, Luzerne County, Pennsylvania in 1784. Many descendants lived in Pennsylvania. Others are scattered throughout the U.S. An exceptionally rare book. Though found in many libraries, privately held copies are almost unheard of. VG-, slightly cocked.

      [Bookseller: Mullen Books, Inc.]
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        Archive of Yippie, New York Provo and other Downtown Protest Mimeographs

      Various, 1968-1970. Some examples show considerable wear, overall good to near fine.. Fifty-three items, mostly typed mimeographed quarto sheets, some with mimeographs of hand-drawn "hippie" drawings. Altogether, documents the activities of the nascent Yippie movement and its anarchist sympathizers, especially the "New York Provo" (also called the "Downtown Poor") and the Free Store movement, often with support of the "Up Against the Wall Motherfuckers". The archive tracks the be-ins, smoke-ins, free concerts and other activities that culminated with the "Festival of Life," an "international youth festival" to be held in Chicago parallel to the 1968 Democratic Convention organized by Jerry Rubin, Abbie Hoffman, Anita Hoffman, Nancy Kurshan, Paul Krassner, and others. The YIP's total rejection of political process and governmental legitimacy included marijuana smoke-ins at public places as well as the establishment of an alternative FDA dedicated to the free distribution of food and drugs, a concept tested at "Free Stores" in the East Village and Alphabet City. Through an appropriation of bigotry at midtown "Hate Parades" and a strength in numbers approach to defiance of drug enforcement laws, the YIPs and Provo posed a palatable threat to the political elite gathering in Chicago for the Democratic convention. The mimeographed sheets, quickly and cheaply printed, created an alternative press, a sort of downtown Twitter, often printed in both English and Spanish in an attempt to also speak to Alphabet City's large Puerto Rican and Dominican population. The Yippie's contempt for the mainstream press motivated them to communicate directly to their supporters, circumventing traditional media while also maintaining a paranoid anonymous voice. Of the New York Provo mimeographs, only two are attributed, "Cops eat… flowers", and a lengthy, 13 page letter, both by George Metesky, a pseudonym adopted by the Diggers. Overall, a fascinating textual and visual documentation of radical political actions, especially leading up to the contested convention in Chicago. The total archive contains fourteen Yippie related items, thirteen Provo New York related items, seven Free Store related items, and an additional twenty items of related interest, including a mimeograph by Ed Sanders, a mimeograph by "Up Against the Wall Motherfuckers", and several music related handbills for acts including the Fugs, The Holy Model Rounders, Richie Havens, Phil Ochs, and a large "Sound-Out" festival near Woodstock.

      [Bookseller: Harper's Books, Inc.]
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        Burning Small Fires

      [San Francisco: Bruce Nauman, 1968]. Hint of edgewear, one small crease at a fold, else near fine in the distinctive card wrappers. Highspot of 1960s artists' books.. First Edition. Quarto. SIGNED by the artist. Nauman's response to Ruscha's Various Small Fires and Milk, with fifteen black and white photographs printed on one large sheet, folded and mounted as issued into the original card covers.

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

        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]
 30.   Check availability:     ZVAB     Link/Print  

        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]
 33.   Check availability:     ZVAB     Link/Print  

        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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      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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