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Displayed below are some selected recent viaLibri matches for books published in 1969

        La ronde de nuit

      First edition of which there were no large paper copies, an advance (service de presse) copy.Rare autograph inscription signed by Patrick Modiano to Geneviève Dormann on this, his second work.Spine slightly sunned, two clear stains to lower cover. Gallimard Paris 1969 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Crime Collection. The Works include: Murder on the Orient Express, Evil Under the Sun, Death on the Nile, etc.

      London: Paul Hamlyn, 1969. 24 volumes; 8vo. (21 x 86 cm). Elegantly bound in half dark blue calf with raised bands, cloth boards, gilt decoration to spine. Internally clean, externally fine. The only major collection of Christie's novels to date, presented in an attractive recent leather binding. Known originally as one of four Queens of Crime, Christie's prominence has grown to the point where to many she is simply the Queen. This collection includes many novels that changed the face of the crime genre, and are regarded as masterpieces of fiction. The titles included are: The Murder of Roger Ackroyd, Murder on the Orient Express, Murder at The Vicarage, A Murder is Announced, Murder is Easy, The ABC Murders, Murder in The Mews, Murder in Mesopotamia, Murder on the Links, Lord Edgeware Dies, Mrs McGinty's Dead, Dead Man's Folly, The Hound of Death, Appointment with Death, Death on The Nile, Death in The Clouds, Death Comes as the End, Peril at End House, Crooked House, The Adventure of the Christmas Pudding, Poirot's Christmas, Poirot Investigates, Parker Pyne Investigates, They Do it with Mirrors, The Mirror Crack'd, The Clocks, The Seven Dials Mystery, The Listerdale Mystery, The Sittaford Mystery, A Carribean Mystery, The Mystery of The Blue Train, The Mysterious Affair at Styles, Ten Little Niggers, Five Little Pigs, Third Girl, The Big Four, The Thirteen Problems, Towards Zero, Three Act Tragedy, The Hollow, The Moving Finger, 4.50 From Paddington, Passenger to Frankfurt, Evil Under the Sun, At Bertram's Hotel, Why Didn't They Ask Evans, Dumb Witness, Taken at The Flood, They Came to Baghdad, Sparkling Cyanide, The Secret of Chimneys, After the Funeral, The Body in The Library, Halloween Party, The Plae Horse, The Secret Adversary, By the Pricking of My Thumbs, The Mysterious Mr Quin, Endless Night, The Man in The Brown Suit, Ordeal by Innocence, One, Two Buckle my Shoe, Cards On the Table, N or M?, Cat Among the Pigeons, The Labours of Hercules, Hickory Dickory Dock, Partners in Crime, Sad Cypress, Nemesis, A Pocketful of Rye and Destination Unknown.

      [Bookseller: Adrian Harrington]
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      Les éditions de minuit. First edition printed in 742 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). Upper cover and spine very slightly sunned at head, but not significantly. Les éditions de minuit Paris 1969 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Iron Man A Story in Five Nights Illustrated by George Adamson


      [Bookseller: Maggs Bros. Ltd. ]
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        Forty Years On


      [Bookseller: Maggs Bros. Ltd. ]
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        Otto Dix. Das Werkverzeichnis der Zeichnungen und Pastelle. 8 Bde.

      3500 S., Abb. Kart. *verlagsneu*. Der in Gera geborene Künstler Otto Dix (gestorben 1969 in Singen) hat neben seinem bedeutenden malerischen Werk auch ein umfangreiches graphisches Erbe hinterlassen. Das vorliegende Werkverzeichnis der Zeichnungen und Pastelle von Otto Dix ist die einzige vollständige Darstellung der rund 6300 zeichnerischen Werke des Künstlers in Bild und Wort. Grundlage des Verzeichnisses ist das von Otto Dix während seines letzten Lebensjahrzehnts angelegte Werkarchiv, das nach seinem Tod von der Otto Dix Stiftung Vaduz fortgeführt wurde. Durch umfangreiche Recherchen in Museen, Galerien und Auktionshäusern sowie in europäischen und amerikanischen Privatsammlungen konnten in den vergangenen Jahren eine Vielzahl großartiger Blätter ermittelt werden. Ein gänzlich neues Kapitel schließlich sind die Skizzenbücher des Nachlasses, die ungefähr ein Viertel des erhaltenen Gesamtbestandes ausmachen. Die inhaltliche Systematik enthält neben stilkritischen Wertungen, der Beachtung des Zeichenstils und Zeichenmittels auch biographische, zeitgeschichtliche und kunsthistorische Hintergründe. Diese gedruckte Fassung des digitalen Werkverzeichnisses umfasst 8 Bände und wird on demand hergestellt.

      [Bookseller: Bergische Bücherstube]
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        The New Universal Solar Calendar

      NY: George Maciunas, [1969]. 20.5 x 23.5 inches. Black calligraphy printed on white stock, folded as issued. Slight tanning overall with some light wear at the folds, else very good. Lengthily inscribed and by MacLise thus: well baby here it is as last the long/ awaited trove trickster's paradise text and time table/if you can line up some orders-$3.00 apiece, it/will make it all seem worthwhile!!!/(Also enclose ""writ"' for you-available at $2.50/am coming out with a record soon (Poedisk label)/is called " The Gold Mountain"/can also take advance orders on it ($7.00-double album)/ to soon appear: book of collected poems/calligraphies; mythic terrains, hyperspace star/charts; ($7.50 " The Ninefold Schema" On another flap signed by MacLise thus: New Universal Solar Calendar/ Angus Maclise/ Dreamweapon/ New York, 1969. Similar to MacLise's renaming of the days in the earlier 'Year' , 'The Universal Solar Calendar' renames the days of the year, but in this format prints the phrases in his characteristic calligraphic hand, producing a full artwork that actually seems to take itself a bit more seriously than most of the multiples produced by Macianus at the time. Fluxus Codex page 398. OCLC locates only one example, included in the Angus MacLise papers held by Columbia University.

      [Bookseller: Kenneth Mallory, ABAA]
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        Signed Postcard Photograph

      Used; Like New/Used; Like New. Evocative postcard photograph of the innovative trumpeter and composer who earned a place among the most influential figures in the history of jazz, boldly signed by Davis across the image. The 1969 photograph by Guy Le Querrec depicts Miles onstage at the Salle Pleyel in Paris in loose clothes and a long scarf, holding his trumpet with one hand pointed at the camera. 10.5 x 15 cm.

      [Bookseller: Schubertiade Music & Arts]
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        Ode to LA while thinking of Brian Jones, deceased.

      Los Angeles; Western Lithograph Co. [?] for J.D.Morrison. [July] 1969. FIRST EDITION (and the only separate edition). 500 copies only, privately distributed to concert-goers. Bifolium, 4-page pamphlet, (unpaginated). Pale yellow textured paper, printed in dark green, unbound as issued. Approx. dimensions 9.5 x 6 inches. With Linweave Textra watermark, 'Made in USA'. A near fine copy, with soft vertical fold and annotations to rear from original owner listing the The Doors' opening songs that evening 'Back Door Man / Break on Through / Soul Kitchen.' The third of four self-published poetry titles by Jim Morrison [1943-1971], after 'The Lords: Notes on Vision' (April 1969), 'The New Creatures' (April 1969), and followed by 'An American Prayer' (1970), and is his only work that was devoted to a single poem. The edition comprised 'vermutlich 500' copies (Gerstenmeyer), which were handed out at the two performances The Doors gave at the Aquarius Theatre, Hollywood (both 21st July 1969). By one account the theatre floor was littered with these leaflets after the show (Humphreys), so most would have been swept up and thrown out with the garbage; in fact the present copy only escaped as it's recipient tossed it in her handbag instead of the floor. Extremely scarce thus. 'Brian Jones' is a chilling meditation on the recent death of Lewis Brian Hopkin-Jones (Brian Jones) [1942-1969], founder and deposed leader of the Rolling Stones' and the 'first martyr of rock and roll', who, two weeks earlier, had been found dead in his swimming pool at Cotchford Farm, Sussex, former home of A.A.Milne. The circumstances of his death remain one of rock's greatest mysteries. Two years later, aged 27 (the same age as Jones lived to), Morrison himself would become an infamous rock'n'roll fatality. Heinz Gerstenmeyer; The Doors [No.4], Kerry Humphreys; The Doors Collector Magazine 'most fans trashed their gift without even reading it... many who attended confirm that these sheets littered the floor and filled almost every trash bin'. PROVENANCE; Originally the property of Michelle Straubing, attendee and journalist for 'Creem' music magazine.

      [Bookseller: Adrian Harrington]
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        Essay und Werkkatalog.

      (Vienna): Jugend & Volk Wien Verlag, (1969). Oblong quarto. 210pp. One of 99 copies, signed and numbered by the artist, Wolfgang Hutter. Bound-in are three original lithographs, also signed and numbered by Hutter. An essay on the style of the Austrian neosurrealist artist, followed by a catalog of his works. Brilliant colors and the superimposition of vegetable/human motifs characterize Hutter's stylized, erotic works. It could be said that his style was part of the post-war reaction against the Nazi regime's censorship of Surrealism. Illustrated throughout with vibrant color and black & white reproductions of Hutter's works. Extremely fine in vellum; housed in a cloth slipcase decorated with one of the artist's fantasy illustrations.

      [Bookseller: Bromer Booksellers]
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      Falkland: Duval & Hamilton, 1969. 7 1/2 x 11 1/2. 145 pages. Initials in blue. Quarter vellum & patterned boards,top edge gilt. As new in slipcase. One of 160 copies signed by Masereel, MacDiarmid, and Mardersteig. Printed in Dante types on Amalfi handmade paper. Schmoller 165.

      [Bookseller: The Veatchs Arts of the Book]
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        Superficie bianca

      Il Nuovo Torcoliere, 1969. Impressione a secco originale, firmata e numerata a matita dall'Artista, realizzata per la cartella "Grafica 69", con opere di Baj, Bruni, Castellani, Ceroli, Guerreschi, Morlotti, Pozzati, Saroni, Steffanoni, Turcato. Testi di G. Giuffrè . Cm 45 x 60. . Ottimo (Fine). Tiratura 100 + 33 +7 esemplari.

      [Bookseller: Studio Bibliografico Marini]
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      1969. SEUSS, DR.. SEUSS,DR. I CAN LICK 30 TIGERS TODAY. NY: Random House (1969). 4to, (8 1/4 x 11 1/4"), pictorial cloth, covers lightly toned else Fine (no dust wrapper as issued). 1st edition. THIS COPY IS SIGNED BY SEUSS! Starring the Cat In The Hat and brightly illustrated in color on every page. A signed first edition are scarce. Younger / Hirsch 38.

      [Bookseller: Aleph-Bet Books, Inc. ]
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      Les éditions de minuit. First edition, one of 100 hors commerce numbered copies on BFK de Rives paper, the only large paper copies with 642 other copies on BFK de Rives paper.Precious copy inscribed and dated January 1970 by Beckett to his friend the painter Geer (Van Velde) and his wife Lise.Nice copy."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-problem... Geer Van Velde is an artist of the former sort... Bram 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).Spine lightly sunned as usual for Molloy and L'Innomable, a tiny tear (not serious) to foot of spine of the latter.  Les éditions de minuit Paris 1969 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Schriften der Familie Freudenberg in Weinheim nach alten und neuen Berichten. 3 Bände (vollständige Ausgabe). Band I - Schriften der Familie Freudenberg in Weinheim nach alten und neuen Berichten / Band II - Carl Johann Freudenberg (1819 - 1898) und die Seinen (Briefe und Blätter) / Band III - Hermann Ernst Freudenberg (1856 - 1923). Herausgegeben von Karl Joh. Freudenberg.

      Als Manuskript gedruckt / Nicht im Handel,, 1969. Privatdruck. Heidelberg, Als Manuskript gedruckt / Nicht im Handel, 1969 - 1971. Gross - Oktav - Format. Paginierung: Band I - 171 Seiten mit zahlreichen photographischen Abbildungen / Band II - 376 Seiten mit vielen Abbildungen und Tafeln / Band III - 335 Seiten mit vielen Abbildungen und einem gemeinsamen Register fuer alle drei erschienenen Baende. Original Hardcover / Alle Baende in originalem Ganzleder. Very rare complete set of this important and well researched Family History of the Founders of the Freudenberg Group / Guter Gesamtzustand mit vereinzelt staerkeren Stockflecken. Sehr selten ! Noch seltener sind alle drei Baende zusammen verfuegbar ! / Als Zugabe (Festschrift "100 Jahre Carl Freudenberg)). Eine der umfangreichsten Monographien einer Unternehmerfamilie Deutschlands. Stark bebildert und wunderbar recherchiert. / nHistory of the Ancestry of the german Freudenberg Industrial Family.nnEnthält unter anderem die folgenden Kapitel: nnJugend und Lehrzeit / Die Lackleder und die Lage des Geschäftes in 1865 - 1880 von Friedrich Carl Freudenberg / Die Lehrzeit in Weinheim / Erster Aufenthalt in den Vereinigten Staaten (USA) 1874 - 1876 / Die Familien Siegert und de Haen / Haus Babo / Hermannshof / Des Vaters Briefe an Hermann / Briefe und Blätter bis zum Tode der Lisette Martenstein (April 1862) / Briefe bis zu Hermanns Rueckkehr aus Amerika im Maerz 1876 / bis zum Tode der Sophie Freudenberg 1904 etc. etc. Stammtafeln / etc.nnThe Freudenberg Group is a German family-owned diversified group of companies whose products include housewares and cleaning products, automobile parts, textiles, building materials, and telecommunications. Its headquarters are in Weinheim, Baden-Württemberg, and it has production facilities and markets in Europe, Asia, Africa, Australia, and the United States. The parent company was founded in 1849 as a producer of leather goods.nThe company was founded in 1849 by Carl Johann Freudenberg, the son of a wine merchant,[2] and his partner, Heinrich Christoph Heintze; the two took over a tannery at Weinheim. For the next 80 years, the company produced leather products exclusively. Hurt by the worldwide economic depression that began in 1929, and by shortages during World War II, it diversified into seals for motors made first of leather and later of artificial rubber (the Simmerring, named for an engineer called Walther Simmer), which led to fabrics and to cleaning fabrics and tools when it was noted that the company's cleaning ladies were using discarded scraps of the experimental fabrics. Vileda (from German: wie Leder, "like leather") window-cleaning cloths were first marketed in 1948.nnIn the mid-1990s the company reorganized with a "highly decentralized organizational structure": it has 16 divisions or areas of business incorporating 430 independent units. Three-quarters of its business is as a supplier to other companies. In 2004 Freudenberg had employees in 43 countries. Recently it has focused attention on markets in China and Japan; for example, it provided the floor coverings for the Shanghai Metro stations.nnIn 2002 the company closed its last leather tannery, marking the effective end of the leather industry in Germany. However, today Vileda is a market leader in Europe. All German cars contain parts made by another Freudenberg subsidiary, and German-made outdoor clothing contains fibers made by yet another.[4] Almost all major airports have flooring made by another Freudenberg subsidiary. In 2015 the group was a 7,5 billion euro business with more than 40,000 employees, approximately 11,000 in Germany. Revenues rose from 7 billion euros in 2014 to 7.572 billion in 2015. (Wikipedia)nn_______________nnCarl Johann Freudenberg und sein Partner Heinrich C. Heintze übernahmen 1849 eine Gerberei im Müllheimer Tal vor Weinheim. Das Unternehmen wuchs aufgrund des Exports seiner innovativen Produkte wie Lack- und Satinleder in alle Welt. Der Sohn des Unternehmensgründers, Hermann Ernst Freudenberg entwickelte zwischen 1900 und 1904 als erster in Europa ein Verfahren zur Gerbung mit Chrombrühe statt mit pflanzlichen Stoffen. So verkürzte sich die Produktionszeit um Monate, und Freudenberg wurde eine der größten Gerbereien in Europa.nnDas Unternehmen wurde durch den Ersten Weltkrieg, die Inflation und die Weltwirtschaftskrise 1929 hart getroffen, denn bis zu diesem Zeitpunkt wurde etwa 60 bis 70 Prozent des fertigen Leders exportiert, was nun nicht mehr möglich war. Aus diesem Grund entwickelten die Enkel des Firmengründers, Hans Freudenberg als Ingenieur, Richard Freudenberg als Verantwortlicher für Personal und Finanzen, Otto Freudenberg als Zuständiger für den Verkauf und Walter Freudenberg für den Einkauf, eine neue Strategie. Zunächst begann man, Lederreste zu verwerten und Ersatzstoffe zu entwickeln. Daraus gingen ab 1929 Dichtungen aus Leder und von 1936 an Radialwellendichtringe mit einer Dichtlippe aus Kunstkautschuk Perbunan hervor, die unter dem Namen Simmerringe ein Begriff wurden.nnDie Chemiker und Ingenieure bei Freudenberg entwickelten aus dem Kunstkautschuk Buna S und Buna N Dichtungen und Fußbodenbeläge. Aber auch Vliesstoffe, die als Trägermaterial für das später gefertigte Kunstleder entwickelt wurden, erlangten bald eine eigenständige Nutzung als Ersatz und Erweiterung gewebter Stoffe. Durch die vielseitige Einsetzbarkeit der Vliesstoffe wurden sie bald sehr bekannt.nnEs gibt seit 1948 Einlagestoffe aus Vliesstoffen unter dem Namen Vlieseline und Haushaltsprodukte der Marke Vileda. Seit 1957 gibt es ein immer weiterentwickeltes Programm von Filtern für Industrie und Konsum mit der Marke Viledon. Dichtungen und Formteile werden schon seit 1934 für die Kunden maßgerecht konstruiert.nnNach dem Zweiten Weltkrieg konnte man während des Wiederaufbaus von neuem im Ausland investieren. Bereits vor dem Krieg gab es schon Produktionsstandorte in Österreich, der Schweiz, Frankreich und Großbritannien. Ab 1951 wurden Vliesstoffe in den USA zusammen mit einem amerikanischen Partner produziert. Von 1955 an gab es eine Fabrik für Formteile, und ab 1968 beteiligte man sich an einem Dichtungshersteller.nnZudem wurde parallel weiter in Europa investiert. Es wurden Beteiligungen und eigene Werke in Großbritannien, Frankreich, Spanien, den Niederlanden, Italien und anderen europäischen Ländern aufgebaut. 1960 kamen dann Investitionen in Japan hinzu. Von 1970 bis 1989 baute Freudenberg ein weltweites Netz von Produktions- und Vertriebsstandorten auf, zu dem Nord-, Mittel- und Südamerika, Australien, Südafrika und Ostasien gehören.nnWährenddessen wurde auch die Produktpalette erweitert. Von 1962 bis 1965 wurde die Technik zur Herstellung von Spinnvliesstoffen entwickelt, die heute in der Medizin, der Landwirtschaft und der verarbeitenden Industrie verwendet werden. Der Schmierstoffhersteller Klüber Lubrication wurde 1966 erworben, und man wagte ab 1982 mit den japanischen Partnern zusammen den Einstieg in die Produktion von flexiblen Leiterplatten.nnDer erste Sprecher der Unternehmensleitung, der nicht der Familie Freudenberg angehörte, wurde 1997 Peter Bettermann (bis 2012). 2003 kaufte Freudenberg den Gleitringdichtungs-Hersteller Burgmann Industries aus Wolfratshausen auf. Mit der ebenfalls zu Freudenberg gehörenden Firma Eagle aus Japan bildet Burgmann die Allianz EagleBurgmann Industries.nn2007 verkaufte Freudenberg den Bereich Bausysteme und Schuhkomponenten an ein Konsortium. Das Unternehmen firmiert seitdem unter nora systems GmbH. 2008 verkaufte Freudenberg die Freudenberg Produktionsservice KG und die Freudenberg Gebäudeservice KG an die Johnson Controls Global WorkPlace Solutions. Dieses Unternehmen firmiert seit dem 1. April 2009 unter Johnson Controls Industrial Services. Im Jahr 2010 hat Freudenberg Chemical Specialities das Oberflächentechnik-Unternehmen SurTec International GmbH mit Hauptsitz in Zwingenberg übernommen. SurTec bietet Produkte und Lösungen für Oberflächenbehandlung und Galvanotechnik, beispielsweise für das Reinigen, Entlacken, Färben, Beschichten und Galvanisieren von Oberflächen aus Metall und Kunststoff.nnDes Weiteren wurde im Jahr 2010 das Joint-Venture-Unternehmen Freudenberg Schwab GmbH, welches 1999 in Kooperation mit der Schweizer Schwab AG gegründet wurde und zu 50 % der Freudenberg Gruppe angehörte, vollständig aufgekauft und zum Teilkonzern vergrößert. Freudenberg Schwab stellt schwingungstechnische Lösungen für Schienenfahrzeuge, Industrie sowie Land- und Baumaschinen her. 2012 wurde das Joint-Venture Unternehmen TrelleborgVibracoustic GmbH gegründet, welches zu 50 % zur Freudenberg Gruppe gehört.nnIm Januar 2013 nahm das Unternehmen im Ranking der 500 größten deutschen Familienunternehmen der Zeitschrift Wirtschaftsblatt Platz 23 ein. Der Global Family Business Index der Universität St. Gallen führt das Unternehmen auf Platz 201 der größten Familienunternehmen weltweit. (Wikipedia)nnn

      [Bookseller: The Time Traveller's Bookshop ]
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        Biological Journal of the Linnean Society.

      8vo. 103volumes in more than 400 parts, plus indices for all volumes except 1-3, 17, 72, 73; original publisher's paper wrappers; Volume 10, Number 4 signed by the editor R.J. Berry; very slight browning to some of the earlier volumes, otherwise fine. A complete run of this august and important publication from the library of its former editor R.J. Berry. Berry, Emeritus Professor of Genetics at University College London, has had a long and distinguished career as an academic. He has written some of the most sought after volumes in the New Naturalist series, including The Natural History of Orkney and The Natural History of Shetland, as well as numerous academic papers and books. As a practising Christian he is also interested in the ramifications of Darwinism upon religious belief, and has written a number of works in support of the idea of evolutionary creationism, including God's Book of Works: The Nature and Theology of Nature, the text of his 1997-8 Glasgow Gifford Lectures. The Journal is the oldest biological journal in the world, having evolved out of the Linnean Society's Transactions in 1791. It was the only dedicated biological journal for many years and was the first organ to publish Darwin and Wallace's theories of natural selection in 1858. It was relaunched in a new format in 1969 and it is a complete run of the modern form of the Journal that is presented here. R.J. Berry's profound interest in genetics and evolution led him to fix decisively the direction of the Biological Journal. Berry made clear the distinctions between the Biological Journal and the Linnean Society's parallel Botanical and Zoological journals in a flier issued upon his becoming editor: "the Zoological and Botanical Journals have a proper and continuing morphological and taxonomic basis; it is our understanding and intention that the Biological journal should have a special emphasis on organic evolution in the broadest sense - from observation and theory to experiment and inference, including history and conservation. This will be firm editorial policy in the future". He assumed the editorship in September 1978 (Volume 10, Number 3) and carried on until April 1990 (Volume 39, Number 4), during which time the journal adopted the subtitle and focus that it has maintained to this day as 'A Journal of Evolution' (starting with Volume 33, Number 1). He has continued as an associate editor since stepping down. The breadth and depth of the learning displayed in these volumes is too great to be discussed in detail here; each issue contains valuable articles, arguments and controversies. It is worth highlighting a couple of issues, though, which bring the focus of the Journal on to Charles Darwin, the father of the evolutionary movement. Volume 17, Number 1 (February 1982) is devoted to commemorating the centenary of Darwin's death and shows the stamp of Berry's Christian perspective by including an article by the Bishop of Salisbury on the impact of evolutionary science on our understanding of Man's place in nature. Other pieces include a biographical article by R.B. Freeman, Darwin's bibliographer, J.R. Moore on the controversy surrounding Darwin's interment in Westminster Abbey and a prefatory paper by Berry himself. Volume 21, Numbers 1 & 2 (January/February 1984, published in one part) are devoted to the Galapagos Islands. Frank J. Sulloway contributes a piece on Darwin and the Galapagos, while the other articles show how modern naturalists have built on Darwin's work in the region. This is just a small glimpse into the range of expertise and approach displayed in this set of volumes. It represents the most intellectually rigorous and exhaustive body of work in evolutionary science over the last forty years and stands as a tribute to the vision of the editor from whose collection it has come.

      [Bookseller: Henry Sotheran Ltd.]
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        A Separate Peace

      First Printing New York Macmillan 1969 First Printing (so stated). 8vo; [6], 186pp. Publisher's grey coarsely woven cloth, the spine and upper board lettered in black, in the second-issue typographic dust jacket priced at $3.50. (The first issue jacket was suppressed, supposedly after the author objected that the illustration's schematic figures and flat primary colors made the book seem a children's title.) A just about Fine copy (slightly cocked) of Knowles's classic first book, square, tight and only lightly read, in a Near Fine jacket, bright and unfaded, that has had professional restoration to the spine ends, which remain slightly creased and lightly soiled. A collectible copy of this high spot of twentieth-century American literature.Fine Note: 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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        Ein klassisches Theaterstück. Typoskriptdurchschlag

      (ca. ) 1969 - 34 Blatt. Übersetzung des im Juli 1958 auf Englisch geschriebenen Originaltextes von "A classical play". Der Originaltext erschien 1963 in der Zeitschrift KWY, no 11, in Paris. Filliou hatte 1968 das Manuskript an die Berliner Verleger und Herausgeber Grützmacher und Höke geschickt in der Hoffnung auf eine baldige Publikation. Im Mai 1970 verlangte der Autor, der in Zwischenzeit von der Übersetzung von Schmit wusste, das Manuskript und die deutsche Fassung zurück. Das Original ist leider verschwunden. Die bisher unveröffentlichte Übersetzung nicht im Archiv von Tomas Schmit.

      [Bookseller: Daniel Thierstein]
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        Zivar-haye zanan-e Iran az dirbaz ta konun (Jewelry of Iranian woman from ancient to this day)

      Tehran: Ministry of culture and arts, 1969 (1348). 537 p. 359 black and white photographs. Original linen. Out of the library of Prof. Dr. Wolfram Kleiss, longtime head of Tehran Branch of the German Archaeological Institute. Text slightly tanned. Cover little rubbed. Versandkostenfreie Lieferung

      [Bookseller: Fundus-Online GbR Borkert, Schwarz, Zerf]
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        A Last Haiku (Broadside Poem)

      No Place: Portents, 1969. First edition. Loose Sheets. Near Fine. Single sheet broadside poem. Illustrated by Robert LaVigne. According to the colophon "This was to have been published as Portents 12, but it was sadly delayed, and these copies have been printed, as an expression of our love, for his friends". Broadside measures 10 x 14" tall. This copy attractively framed under glass.Uncommon Kerouac "A" item. Please note that due to the weight of the glass and frame that additional postage charges will apply.

      [Bookseller: Derringer Books, Member A.B.A.A. ]
 20.   Check availability:     ABAA     Link/Print  

        Le Peintre-Graveur Illustre, Volumes I-XXXII (complete 32-volume set)

      New York: Collectors Editions Ltd. / Da Capo Press, 1969. Reprint. Hardcover. VG- (Ex-art library, with marks on outer spines, i.d. marks on book block edges and outermost pages, incl. rear pockets; average edge wear to most vols., with v. 21 having more spine wear, having got caught somewhere sometime; pages are clean.). 32 vols. Brown cloth, maroon title blocks on spines, gilt letters on spines and front covers; various paginations, many BW illus. Text is in French. The complete 32-volume reprint set of this voluminous analysis of the artwork rendered by 19th- and 20th-century engravers. Compiled by French engraver and lithographer himself, Loys Delteil (1869-1927). Subtitled on the opening new title pages as: The graphic works of nineteenth and twentieth century artists, an illustrated catalog. The final volume here is a construct of the new printing, with biographies of the artists, of the author, and much more. Contents: I: J. F. Millet, Th. Rousseau, Jules Dupre, J. Barthold Jongkind; II: Charles Meryon; III: Ingres & Delacroix; IV: Anders Zorn; V: Corot; VI: Rude, Barye, Carpeaux, Rodin; VII: Paul Huet; VIII: Eugene Carriere; IX: Edgar Degas; X: H. de Toulouse-Lautrec (1); XI: H. de Toulouse-Lautrec (2); XII: Gustave Leheutre; XIII: Charles-Francoise Daubigny; XIV: Francisco Goya (1); XV: Francisco Goya (2); XVI: Jean-Francois Raffaelli; XVII: Camille Pissarro, Alfred Sisley, Auguste Renoir; XVIII: Theodore Gericault; XIX: Henri Leys, Henri de Braekeleer, James Ensor; XX: Honore Daumier (1); XXI: Honore Daumier (2); XXII: Honore Daumier (3); XXIII:Honore Daumier (4); XXIV: Honore Daumier (5); XXV: Honore Daumier (6); XXVI: Honore Daumier (7); XXVII: Honore Daumier (8); XXVIII: Honore Daumier (9); XXIX: Honore Daumier (10); XXX: Albert Besnard; XXXI: Jean Frelaut; XXXII: Appendix and Glossary. A rare find, as a complete set.

      [Bookseller: Mullen Books, Inc. ABAA / ILAB]
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        If. a film. Modern Film Scripts.

      New York: Simon and Schuster, 1969 - Octavo. Original pictorial wrappers, spine and covers lettered in blue and black. Minor wear to spine and extremities, some creasing to spine and front cover, small closed tear at tail of spine, a very good copy. Black and white photographs throughout. First edition, first impression. Presentation copy. Inscribed on the title page by Lindsay Anderson to Ben Travers, "For Ben - another egotistical gift I'm afraid: but with my warmest affection and gratitude for the honour of this happiest of collaborations, From Lindsay. A lucky man indeed to have directed The Bed Before Yesterday, and no [If.]s about it! [A film by] Lyric Theatre Company '75'." Anderson also makes a pun by referencing her 1973 film O Lucky Man! Ben Travers directed Anderson's play The Bed Before Yesterday, starring Helen Mirren, which opened at the Lyric Theatre on 9 December 1975. The film If. won the Palme d'Or at the 1969 Cannes Film Festival. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Les Metamorphoses Erotiques with Hand Signed Etching by Salvador Dali Plus Extra Suite of Illustrations Plus Another Hand Signed Dai Signature to Justification Page Limited Edition

      Paris: A l'Erotitiade, 1969. Limited Edition 1st Printing. Hardcover. Very Good/Good. Salvador Dali. With an original hand signed etching by Dali. Number 147/150 with the extra suite of illustrations in a paper folder. Another of Dali's signature on the justification page. On B.F.K Rives paper with full margins. Printed by Atelier Rigal. Looseleaf as issued in red silk boards with gilt titles. French Text. Purple moire silk slipcase. All pages in very good condition. Gilt titles on red cloth boards. Slight colour fading around edges of the slipcase. Printed by Atelier Rigal.

      [Bookseller: Treasured Books Ltd]
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        Il cappotto

      Roma: Il Torcoliere, , 1969. Fogli sciolti in cartelletta (loose as issued in original portfolio). Ottimo (Fine). Cartella di 8 serigrafie originali a colori, tirata in 99 esemplari numerati da 1 a 99, più 6 prove d'artista. Serigrafie stampate presso la Stamperia Böer di Amburgo tra il gennaio e il marzo 1969. Ogni stampa è firmata e numerata a matita dall'Artista / A suite of 8 original screen prints in an edition of 99, plus 6 artist's proofs, each numbered and signed by the Artist. The screen prints have been printed by Böer, Hamburg. Elenco delle opere / Works: "Nella stanza" (6 colori), "Ritorno" (6 colori), "Help!" (6 colori), "Io vengo" (8 colori), "Melanconia" (7 colori), "Sotto il cappotto" (6 colori), "Prego, s'accomodi" (6 colori), "Contemplazione" (6 colori). Allegato un foglio con presentazione in italiano e inglese di Renato Guttuso. Copia 48/99. Cm 75x61. pp. 8. Ottimo (Fine). Edizione originale di 99+6 es. numerati e firmati .

      [Bookseller: Studio Bibliografico MArini]
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      1969. Litografia a colori Buon es., incorniciato 6/75 Firmato e datato in basso a sinistra

      [Bookseller: Libreria Minerva]
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        Superficie bianca

      Roma: Il Nuovo Torcoliere, , 1969. Ottimo (Fine). Impressione a secco originale, firmata e numerata a matita dall'Artista, realizzata per la cartella "Grafica 69", con opere di Baj, Bruni, Castellani, Ceroli, Guerreschi, Morlotti, Pozzati, Saroni, Steffanoni, Turcato. Testi di G. Giuffrè. Cm 45 x 60. . Ottimo (Fine). Tiratura 100 + 33 +7 esemplari.

      [Bookseller: Studio Bibliografico MArini]
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        Allée des Verges. (Penis Alley.)

      Paris: Graphik Europa Anstalt, 1969 - Excellent condition. Hand coloured drypoint etching on Japon nacré paper. Plate size: 31.5 x 23.5 cm. Sheet size: 38.5 x 28.5 cm. Edition of 145. Signed in pencil lower right by Dali, numbered lower left. Dali blindstamp to lower right. One of 16 prints from the Vénus aux Fourrures portfolio. M & L 367f.

      [Bookseller: Peter Harrington. ABA member]
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        O My Life!

      Angel Hair Books, New York 1969 - SIGNED by poet Anne Waldman and artist George Schneeman on the colophon, a first edition of Waldman's uncommon second book of poems published by Angel Hair Books, founded by Waldman and Lewis Warsh. One of only 20 special numbered copies signed by both Waldman and Schneeman. (There were also 474 unsigned trade copies and 6 copies hors commerce, lettered and signed, "with a special surprise from the author.") 4to (11 inches / 28 cm tall), 38 unnumbered leaves on rectos only, in side-stapled illustrated wrappers. Some soiling and spotting to the front cover and sunning to the rear cover with a small closed tear on the bottom edge. Otherwise, Near Fine. A terrific collaboration between two important figures in the New York School of poetry, featuring Waldman's exuberant poems and Schneeman's distinctive art work. Copies signed by both Waldman and Schneeman are uncommon; most copies found in the market are unsigned trade copies. SCARCE SIGNED. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Le Bookiniste]
 28.   Check availability:     AbeBooks     Link/Print  


      Shaken, Tokyo 1969 - Original softcover photographic binding, minor browning and wear to extremities, slight chipping to head and foot of spine. Some minor soiling to wrappers. Occasional minor marks and browning to contents. Includes 3 loose advertisements for Tomatsu`s other photo-books `Nagasaki`, `Japan` and `Saramu Areikomu`. First edition copy of this famous photo-book by celebrated photographer Tomatsu Shomei (1930-2012) showing the last few years of the American occupation in Okinawa, protests, and the generally tense relationship between the American forces and the local Japanese population. During his lifetime Tomatsu collaborated with many famous Japanese artists including Ken Domon, Eikoh Hosoe, and Ikko Narahara. He was particularly known for his photographs of the everyday Japanese lifestyle, and was also one of the founders of Japanese photographers` collective `Vivo`, formed in 1957. Text in Japanese. [Attributes: First Edition; Soft Cover]

      [Bookseller: Kagerou Bunko (ABAJ, ILAB)]
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        Protagonisti. Giacometti, Sutherland, De Chirico. Fotografie di Giorgio Soavi

      Longanesi, 1969. 4to (cm. 31), 263 pp. con 52 a colori e 185 in nero. Ritratti originali di Giorgio Soavi, Graham Sutherland (4), ALberto Giacometti (7, di cui due con Annette), Giorgio De Chirico (eseguiti da L. Civerchia). Tela editoriale con sovrac. fig. (piccole mende). Ottimo esemplare con lunga dedica dell’Autore che contiene sintetiche annotazioni su ciascuno dei tre artisti cui l’opera è dedicata. Il volume proviene dalla biblioteca del pittore romano Luigi Civerchia. I ritratti qui presenti mostrano l’idea di concepire il libro come un intelligente ed espressivo contenitore di memorie, le proprie innanzitutto, ma anche quelle dei diversi personaggi che egli ritrae, come intrecciandone i destini tra le pagine di uno stesso testo. Vale la pena notare che il nostro pittore ha scelto solo i libri come gallerie per i ritratti. Chi ha visitato qualche sua mostra, tra le tante tenutesi in Italia e all’estero, avrà infatti osservato che nei paesaggi o in altre composizioni le figure umane sono per lo più assenti, o comunque, hanno un ruolo del tutto secondario. E’ quindi una vera scoperta il Civerchia ritrattista, e lo è ancor più considerando la particolarità di esprimersi su di un mezzo singolare come sono le pagine di un libro. Luigi Civerchia è nato a Roma, nel popolare quartiere di Trastevere, nel 1928. Dopo una prima esperienza presso la bottega di uno scultore, continua il suo percorso nell’Atelier di Vittorio Grassi, momento fondante della sua formazione umana ed artistica. Si avvicina poi alla Scuola Romana seguendo con entusiasmo gli insegnamenti dei suoi Maestri ideali: Mafai, Pirandello e Quaglia.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Conversations with Dali [Signed with Original Drawing by Salvador Dali]

      E.P. Dutton & Co., New York 1969 - Floridly SIGNED with an ORIGINAL ILLUSTRATION by Salvador Dali in blue felt-tip ink on the spread encompassing the first two blank pages (verso of ffep & recto of first blank). Full double-page signature, with the huge "D" in Dali capped by a drawing of a halo crown adorned with a cross on top. Signed with his surname only, Dali has added the date "1971" below. The signature is bold & clear, in fine condition, with a couple of tiny brushes to the enormous capital "D". Provenance includes auction record, with pre-certified PSA/DNA & auction house COA. First Edition, stated. Translated from the French by Joachim Neugroschel. Contains ten conversations with Dali, plus an essay by Dali titled The Conquest of the Irrational. Front cover blurb: "A revealing dialogue with a modern master". From inner flap of dustjacket (in part): "The antic genius of 'the divine Dali' has never been better displayed than in these sprightly conversations with his old friend, Alain Bosquet, a novelist, poet, and critic. The setting for all ten conversations is Dali's luxurious Paris apartment. Everything is grist for the talk, and the subjects change rapidly as the obiter dicta fall: politics and painting, France and the USA, Luis Bunel, Popes John and Paul, Sophia Loren. Bosquet especially pursues Dali's relationship to Spain and France, to Catholicism, and to the history of Surrealism. There are hilarities here and opinions quotable by the page. However, running throughout this dazzling talk are the expectably shrewd and knowing observations on the history and craft of painting, both Dali's and that of past and present masters. Rounding out the ten conversations is a new translation of Dali's complete essay 'The Conquest of the Irrational', a tour de force on the place of Surrealism in twentieth-century culture. This is a primary document of the movement, in which Dali analyzes the significance of the unconscious forces of modern art over against modern science and technology". The original French edition, titled Entretiens avec Salvador Dali, was first published in 1966 by Pierre Belfond. This is the First American Edition, published 1969 by E.P. Dutton. Printed in the USA. Bound in original pale blue boards backed by yellow cloth spine with black lettering, in publisher's unclipped pictorial dustjacket (retaining original published price of $3.95 on inner front flap). A very nice clean tight solid hardcover copy. The dustjacket is now protected in a removable clear Bro-dart cover. 123pp. SIGNED COPY with an ORIGINAL DRAWING by the famed Spanish Surrealist. RARE & UNIQUE. Size: 21 x 14cm [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookwood]
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        Orfeo Tamburi. Dodici opere grafiche

      Milano: Luigi De Tullio, Incisori italiani contemporanei , 1969. Ottimo (Fine). Dodici xilografie, acqueforti, acquetinte e punte secche originali incise dal 1928 al 1940 numerate e firmate a matita dall'Artista e custodite singolarmente in 12 passepartouts sigillati (cm 31x19; 12,5x17,5; 14x14). Presentazione di Waldemar George. cm 56x42. pp. 6 + cartellette con le incisioni. Ottimo (Fine). Edizione originale di 40 es. numerati. Le peintre est devant nous. Il dessine et grave comme il respire. Son style est une quete des vèrités premières. C'est un style manuel dans la mesure exacte où son geste avec le choc visuel et devance la pensée. Mais l'improvisation graphique de Tamburi n'est pas une prime à la facilité. Elle révèle, sinon une science scolaire, du moins un gai savoir

      [Bookseller: Studio Bibliografico MArini]
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        The French Lieutenant's Woman.

      London: Jonathan Cape, 1969 - Octavo. Original brown boards, titles to spine gilt, pictorial endpapers, top edge brown. With the dust jacket. A fine copy in the price-clipped jacket with slightly faded spine. First edition, first impression. Signed by the author on the half-title. From the library of Irish book collector Dr Philip Murray, author of The Adventures of a Book Collector (2011). [Attributes: First Edition]

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

        Signed Catalogue Collection

      - An interesting grouping of catalogues from the artist who created monumental environmental art installations which included the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile long artwork "Running Fence" in Sonoma and Marin counties in California, and "The Gates" in New York City's Central Park. A group of seven items including five attractive exhibition catalogs of his works: a exhibition catalog titled "Christo - Wrapped Coast One Million Sq. Feet", from his exhibition in Little Bay, New South Wales, Australia, 1969, inscribed and signed: "For Leo Steinberg, Christo"; a second exhibition catalogue "Christo - Oceanfront", for a show held at Princeton Museum art gallery, 1975, inscribed and signed to the same person; a third catalogue: "Christo - The Running Fence" by Werner Spies, photos by Wolfgang Volz, Thames and Hudson, 1977, inscribed to the same gentleman; an invitation to an exhibit of Christo's work at the Untstegewerbemuseum, Zurich, 1978; a catalogue from Christo's exibition at the Rijksmuseum, Kroller-Muller, Otterlo, 1978, signed and inscribed; an exhibition catalogue "Christo: The Umbrellas (Joint Project for Japan and the USA)" from a show at Guy Pieters gallery, 1989 (Belgium), signed in brown crayon, and a confirmation of teletype message to his excellency the Mayor of Barcelona, ca. 1990 with hand written post-it note attached from Christo's wife Jeanne-Claude "Dear Leo - Thank you for coming to Columbia - thank you for the China wall. Love Jeanne-Claude". Seven pieces, very good.

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

        Hollstein's Dutch and Flemish Etchings Engravings and Woodcuts, ca. 1450-1700: Volume XVIII, Rembrandt Van Rijn, text ; Volume XIX, Rembrandt Van Rijn, plates (2 vols.)...

      Amsterdam: Van Gendt & Co. 1969. 2 vols. Darkest siena stamped cloth, gilt letters on spine; 205 text pp. plus 316 BW plate pp. The 18th and 19th volumes of an eventual 72-volume set providing details about the lives and works of Dutch and Flemish artists who produced prints, etchings, engravings and woodcuts during the 15th, 16th, and 17th centuries. These volumes address the work of Rembrandt van Rijn (1606-1669). The first book is the annotated catalogue, and the second has the BW illustrations. A nice pairing. Scarce. VG- (Ex-art library; no djs; i.d. marks on book block edges and outermost pages, incl. rear pocket; pages are tanning at edges; otherwise, only lightly aged.)....

      [Bookseller: Mullen Books]
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        Arno Balsamo Fino

      Edizioni Cantini Club D'Arte, 1969. Poesia in prosa e versi di Franco Simongini con 5 acqueforti originali, su fogli sciolti, di Giacomo Porzano numerate e firmate a matita dall'Artista (cm 22x14,5 circa). Nota di Carlo Betocchi. 4to. pp. 24 + incisioni. Ottimo (Fine). Edizione originale di esemplari 120 + X.

      [Bookseller: Studio Bibliografico Marini]
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      - Saint-Paul, Au vent d'Arles, 1969. Broché: 24 x 19 cm, 19-[4]p. non ébarbé, grandes marges. Edition originale. Avec en frontispice un dessin de Georges Braque fac-similé par les ateliers Daniel Jacomet. Un des 200 exemplaires numérotés sur papier à la cuve Richard de Bas signés par l'auteur (no. 5). Infime coloration au bas de la couverture, sinon à l'état de neuf. [Attributes: Soft Cover]

      [Bookseller: Librairie de l'Univers]
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        Photographie : décollage de la fusée Saturn V le 16 juillet 1969 [S69-39961]

      NASA, [1969], , , tirage en couleur d'époque [image 190 x 240 mm], cachet "NASA-USAF PHOTO" au revers, Cliché réalisé depuis la tour de lancement. A bord, l'équipage de la mission Apollo XI : le commandant Neil A. Armstrong, le pilote du module lunaire "Eagle" Edwin E. Aldrin Jr, et le pilote du module de commande "Columbia" Michael Collins.

      [Bookseller: Librairie Alain Brieux]
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      NY: Aperture, 1969. First edition, special limited issue. White, Minor. Oblong folio, 242 pp., over 250 photos. Captions and poems by the photographer. A special limited issue of 200 numbered and SIGNED copies the first edition, using had selected sheets, bound in buckram and housed in a matching blue buckram slipcase. Includes the 10 page Comments booklet in pocket, which is mounted to rear pastedown. Issued without a dust jacket. Aside from slight fading to the spine and slipcase, a fine copy. Minor White took Alfred Stieglitz's concept of the Equivalent to another place by using a sequence of images, often with text. This book was White's magnum opus.

      [Bookseller: Andrew Cahan: Bookseller, Ltd]
 39.   Check availability:     Biblio     Link/Print  

        Photographie : Buzz Aldrin devant le drapeau américain [AS11-40-5875]

      NASA, [1969], , , tirage en couleur d'époque [image 190 x 240 mm] sur papier Kodak, cachet "NASA-USAF PHOTO" au revers, L'une des photographies les plus emblématiques de la mission Apollo XI, réalisée au cours de la première sortie extra-véhiculaire sur la surface lunaire le 20 juillet 1969 : l'astronaute Edwin E. Aldrin Jr. dans la mer de la Tranquillité, site d'alunissage de la mission, salue le drapeau américain qui vient d'être planté. C'est le second des deux célèbres clichés de cet instant, réalisés par Neil Armstrong au moyen d'un appareil Hasselblad 70-mm, vers 20h33 (UTC) : Buzz Aldrin a abaissé sa main droite après avoir porté ses doigts à la visière de son casque pour saluer le drapeau [cliché AS11-40-5874] et s'est légèrement tourné vers Neil pour voir s'il a pris la photo : son visage est visible, en dépit du taux élevé de réflectivité de la visière en or. Les traces de pas sur le sol lunaire sont bien visibles au premier plan. A noter : le cadrage de cette épreuve est légèrement resserré sur la droite et sur la gauche de l'image, entraînant petite perte d'information en particulier sur le module lunaire "Eagle" à gauche.

      [Bookseller: Librairie Alain Brieux]
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        [View of the Binnen Amstel towards the Regulierstoren or Munttoren (Mint tower)].[Amsterdam, ca. 1760/70]. (25

      Cf. Romers, J. de Beijer oeuvre catalogus (1969), nos. 917, 965, 965 [bis], 966 (2 similar drawings & 2 engraved prints, all drawn by De Beijer). Detailed view of one of the most significant sites in Amsterdam: the Munttoren (Mint-tower) as seen from the quay on the Binnen Amstel, or 's-Gravenlandse veer, with the Halvemaansbrug (centre and left) and the quay (right) in the foreground, the houses on the Amstel (now nos. 52-2) at the left, and the "English houses" (now Doelenhotel) and the back of the houses on the Nieuwe Doelenstraat at the right. Attributed to the Swiss-born Dutch artist and engraver Jan de Beijer (Arau 1703-1768?).The drawing is made on a quarter of a large sheet of laid paper, showing the lower half of the watermarked: a crowned Strasbourg coat of arms (lily) above ^ above VDL (Van der Ley), similar to Heawood 1838 (used in Amsterdam ca. 1769).

      [Bookseller: ASHER Rare Books (Since 1830)]
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      - SEUSS,DR. I CAN LICK 30 TIGERS TODAY. NY: Random House (1969). 4to, (8 1/4 x 11 1/4"), pictorial cloth, covers lightly toned else Fine (no dust wrapper as issued). 1st edition. THIS COPY IS SIGNED BY SEUSS! Starring the Cat In The Hat and brightly illustrated in color on every page. A signed first edition are scarce. Younger / Hirsch 38. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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