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Displayed below are some selected recent viaLibri matches for books published in 1970

        The Touch [Beröringen] (Original still photograph from the set of the 1971 film)

      Stockholm: Svensk Filmindustri (SF), 1970. Vintage black-and-white borderless double weight Swedish press photograph from the 1971 film, shot in 1970. Stamps on the verso for the Pressens Bild Ab Feature-Service in Sweden, as well as a Swedish mimeo snipe describing the scene, dated October 1970 and crediting still photographer Jörgen Persson, and a subsequent French press stamp. Pictured left to right are Elliott Gould, Bibi Andersson, Bergman, and Nykvist, preparing an outdoor scene by a still lake. Bergman's first English language film, shot in England and Sweden, and his first film to involve a major American actor (Elliott Gould), working alongside Bergman regulars Max von Sydow and Bibi Andersson. A seemingly happy Swedish housewife and mother (Andersson), living in the United States, begins an adulterous affair with a foreign archaeologist (Gould) who is working near her home, an emotionally scarred survivor of the Holocaust. 8 x 10 inches (20 x 25 cm). Near Fine.

      [Bookseller: Royal Books, Inc.]
 1.   Check availability:     Biblio     Link/Print  

        Gumshoe (Original screenplay for the 1971 film, with four original film stills)

      Culver City, CA: Columbia Pictures, 1970. Draft British script for the 1971 UK film. Working copy belonging to actress Billie Whitelaw, SIGNED by Whitelaw on the front wrapper, with her holograph notations throughout in pencil and red and blue ink. Included are four vintage black-and-white single weight still photographs from the film. Director Stephen Frear's debut feature film, and the first film to feature an original musical score by Andrew Lloyd Weber. A whodunit verging on spoof, Albert Finney plays a standup comedian and aspiring private detective. When he advertises his detective services in the local newspaper he may actually have to solve a real mystery. Set in Liverpool and London, and shot there on location. Tall orange studio wrappers with a die-cut title window in the British style. Title page present, dated 1st October, 1970, with credits for screenwriter Neville Smith. 123 leaves, mimeograph. Pages Very Good, wrapper Good bound internally with three silver brads.

      [Bookseller: Royal Books, Inc.]
 2.   Check availability:     Biblio     Link/Print  

        THE DOG BITE A Dream Narrative with Twenty Linoleum Blocks

      New York: Plain Wrapper Press, 1970. 1st Edition . Loose Pages. Fine/No jacket as issued. FINE SIGNED LIMITED #39/150 1ST EDITION. Artist portfolio, with 21 loose gatherings housed in a cardboard box covered in a delicate black paper skin. 19 linocuts printed on double leaves, each linocut signed by the artist in pencil. Heavy stock, cream, textured pages pristine and unmarred with no ownership, writing, marks, tears or folds. Appears unread. VERY GOOD+ clean and sound box. Artist Barton Lidice Benes created a body of work that is exhibited internationally and in permanent collections at the Art Institute of Chicago, The Smithsonian, and The U.S. Mint. Benes received the Wyn Newhouse Award for his work in 2012. The Westbeth studio, where Benes lived for more than 40 years, will be reassembled at the North Dakota Museum of Art as a permanent installation. Foreword by Emily Hahn. No date, copyright 1970. Folio (13 in. tall); large box 14 in. x 10 1/4 in. Fine bottom of box. Box cover with light chipping to edges and minor stress wrinkles. An excellent signed and limited 1st edition of Benes' work.

      [Bookseller: EXCELSA SCRIPTA Rare & Collectible Books]
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        Zettels Traum. Faksimile-Wiedergabe des einseitig beschriebenen, 1334 Blätter umfassenden Manuskripts.

      Stuttgart, Goverts, Krüger, Stahlberg Verlag, 1970 - Folienschutzumschlag im hinteren Bereich mit Knickfalte Sprache: Deutsch Gewicht in Gramm: 5500 45 cm, Original-Leineneinband mit Folienschutzumschlag in der Original-Versandbox. Exemplar für Prof Dr. Helmut Schelsky [Attributes: First Edition; Signed Copy]

      [Bookseller: Antiquariat Rump]
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        Wunderhorn. Eine Auswahl von Max Ernst u. Werner Spies.

      Manus-Presse,, Stuttgart, 1970 - Stuttgart, Manus-Presse, 1970. 4°. M. 36 Orig.-Farblithographien von Max Ernst. 78 S. Illustr. OLwd. in Schuber. (Rücken etw. ausgeblichen u. Sammlungsstemp.a. Innendeckel bzw. Vorsatz). Spies/Lepplen 135; Spindler 161/12 - Eins v. 1000 Exempl. auf Arches. (Rücken etw. ausgeblichen u. Sammlungsstemp.a. Innendeckel bzw. Vorsatz). [Attributes: Hard Cover]

      [Bookseller: Antiquariat Seidel & Richter]
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      New York & Evanston: Harper & Row, 1970. Hardcover. Near Fine/Near Fine. NEAR FINE 1ST ENGLISH LANGUAGE AND 1ST AMERICAN EDITION. Near fine 2nd issue color pictorial dust jacket in Brodart archival protector. Tight, clean and square. Tight joints and hinges. Stands straight; straight spine. Square corners. Fore-edge slightly rough-cut. Fine, smooth pages remarkably pristine and unmarred with no bookplate, writing, foxing, marks, tears or folds; no loose pages. Appears unread. Pristine heavy stock green endpapers. Gabriel Garcia Marquez, considered one of the most significant authors of the 20th century, was awarded the Nobel Prize in Literature in 1982. Best known for his novels, Marquez's works have achieved significant critical acclaim, most notably for popularizing magical realism, the use of magical elements in otherwise ordinary situations. One Hundred Years of Solitude is considered his masterpiece. No date, 1970. First edition stated; first printing. Last leaf without number line. Second-issue dust jacket with period at end of first paragraph. Ahearn p. 289. McBride p.34. 8vo (8 3/8 in. by 5 5/8 in.); 422 pp. Rear tip with tiny bump. Top edge flecked; rear fore-edge lightly flecked. Jacket price clipped; rear fore-edge lightly flecked. Near fine 1st English language edition and 1st American edition of Marquez's masterpiece in near fine 2nd issue dust jacket.

      [Bookseller: EXCELSA SCRIPTA Rare & Collectible Books]
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        Le Pont neuf. Öl auf Leinwand.

      Paris, 1970 47 x 61 cm, 57 x 71 cm gerahmt, Tadell. Rechts unten signiert. Rückwärts betitelt. Rose -Mary\"` Méral. 15. rue Juge- Paris 15ème. war laut Auskunft von Simon BOHBOT. l`archiviste du salon. Mitglied der Société des Artistes Français SAF. und stellte 1971-72-73-74-75 und 1977 im Rahmen der Vereinigung aus. Dieses Bild wurde laut rückwärtigem Stempel 1972 am Salon der Société des Artistes Français SAF ausgestellt. - Hübsches professionell gemaltes Bild im Stil der naiven Malerei. Versand D: 20,00 EUR Gemälde - nach 1945

      [Bookseller: Antiquariat Peter Petrej]
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        Old Shoshone man with cane (bronze sculpture)

      1970 - GREEVES, Richard Vernon. Old Shoshone man with ten-gallon hat and cane. Wind River Reservation, Wyoming, circa 1970. Original bronze, measuring 18-1/2 by 5-1/2 by 5-1/2 inches, rich, deep patina. $9000.Original limited casting, number 19 of only 24 pieces, signed in the cast.As a young man, Richard Greeves’ interest in Western exploration led him to read the journals of Lewis and Clark. Entranced by the details of this great expedition, he became intent to learn about Native Americans, and at age 15 he befriended a Shoshone girl who invited him to visit the Wind River Reservation in Wyoming, where Lewis and Clark’s Shoshone guide, Sacajawea, is buried. From this first visit he decided to make a home among the Indians who had so graciously welcomed him socially, culturally and spiritually (he has lived with the Shoshones and Arapahos ever since). “Deriving a strong background of artistic craftsmanship from his Italian heritage, Greeves portrays through sculpture the character and spiritual essence of the people and animals of his chosen homeland” (Borsini-Burr Galleries). “There is a magic,” he states, “a mysticism for me here that I really can’t explain. I just feel it… In my work I’m just trying in my meager way to bridge this civilization with ones that come after us.” This 1970s bronze sculpture of an old Shoshone man reflects his character magnificently. Greeves’ work has been shown in such prestigious exhibits as the Prix de West and the Masters of the American West. Fine condition. [Attributes: Signed Copy]

      [Bookseller: Bauman Rare Books]
 8.   Check availability:     IberLibro     Link/Print  

        Anonyme Skulpturen

      Art-Press Verlag. Hardcover. 392122408X For your consideration is the first edition of,"Anonyme Skulpturen," by Bernhard and Hilla Becher. Our book is in above average condition and is graded Good++ in a Good dust jacket. The dust jacket is moderately soiled and edgeworn with a few closed edge-tears, but is overall good and intact, and has not been price-clipped (jacket now fitted with a new, Brodart jacket protector). Boards show very light wear with minor edgewear. The textblock edges are unblemished. There is very light foxing to the front and back endpapers, and a name is written to the first endpaper. The text pages are completed unmarked. The binding is good with a straight spine. This book will be stored and delivered in a secure storage box with foam padding. Published by Art-Press Verlag, 1970; Large Format (Quatro, 10.75 11.75 tall); 208 pages; Hardcover binding. . Good.

      [Bookseller: Salish Sea Books]
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        Conquistador. Libro sesto. Versione di Roberto Sanesi. Incisioni e litografie di Giancarlo Pozzi.

      Upiglio 1970 8°; pp. non num. 56 su carta a mano pesante Filicarta a margini intonsi, con otto acqueforti e cinque litografie originali, a colori, f.testo, firmate a matita dall'Artista. Brochure edit. illustrata, bella edizione limitata a 100 esempl. num. araba, oltre a XX num. romana; firma dell'Artista al colophon. Astuccio in similpelle edit. con titoli al dorso e fregio inciso a secco al piatto anteriore, lieve ammaccatura in uno spigolo al piatto anteriore. L'Autore (1892 - 1982) scrittore e poeta americano ha ottenuto il premio Pulitzer nel 1952.(vedi riproduz.)

      [Bookseller: Libreria Antiquaria Prandi s.n.c.]
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      -Rapp & Whiting 8 Jun. - 1970 - First Uk edition. Black cloth, silver lettering. Fine in dustjacket. Many Philip K Dick titles in stock. In this collectors opinion, the best Dick has written by far.

      [Bookseller: Studio Bookshop]
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      Tokyo: Tsukiji Shokan Publishing Co. 1970 - First Edition. Thick quarto. A catalogue of faces, shot on the streets of New York where the Japanese-born photographer was an apprentice to Richard Avedon. The uniformity of the images, both in layout and tonal quality, suggest either a dystopian hegemony or a utopian heterogeneity. (Parr / Badger, v1, 291; Open Book 266-267; Auer 515). Light edge wear, top edge tad dusty, few specks of foxing; still close to near fine in photo-illustrated wrappers, close to near fine matching jacket, lightly worn, with a bit of endemic fading to the spine, but better than usual. [Attributes: First Edition; Hard Cover]

      [Bookseller: Harper's Books, ABAA]
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        William the Lawless

      London: Newnes, 1970. 1st Edition . Cloth. Fine/Near Fine. Henry Ford. Lovely clean, bright copy. DJ looks near fine, look closely and you may detect a few minor repairs to closed tears etc.

      [Bookseller: Hinch Books]
 13.   Check availability:     IOBABooks     Link/Print  

        Shoot Out (Original screenplay for the 1971 film, James Gregory's copy)

      Universal City, CA: Universal Pictures, 1970. Final draft script for the 1971 film. Copy belonging to James "Jim" Gregory, who played Sam Foley in the film, with his name in holograph ink on the front wrapper and character name on the title page. Bound in is a casting note addressed to Gregory from Robert J. LaSanka (Bob La Sanka), a casting director, suggesting he try for the role of Sam Foley. Based on Will James' 1930 autobiography, "Lone Cowboy: My Life Story." Clay (Peck) is finally released from jail after a long stint for robbery. Once released, he's saddled with the responsibility of looking after a young girl, who tags along as he hunts for the man that framed him, seeking revenge. Set in California, shot on location in New Mexico and California. Director Hathaway, screenwriter Roberts, and producer Wallis worked togehter two years earlier, on the classic western, "True Grit" (1969), starring John Wayne, a film based on Charles Portis' novel of the same name. Red studio wrappers, noted as FINAL SCREENPLAY on the front wrapper, production No. 02047, dated October 2, 1970. Title page present, dated October 2, 1970, noted as Final Screenplay, with credits for director Hathaway and producer Hal Wallis. 116 leaves, with last leaf of text numbered 115. Photographically reproduced on eye-rest green stock. Pages and wrapper Near Fine, bound with three gold brads. Hardy, The Western, p. 335.

      [Bookseller: Royal Books, Inc.]
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        oh Sensibility ! 2 Nr. 11 von 25 Exemplaren - 11 signierte Originalphotographien

      Selbst, 1970 - 13 Blatt Otto Muehl, oh Sensibility - Exemplar Nr. 11 von 25. Enthält 11 signierte typisch ( äußerst) provokante Original Photographien . Diese auf festem Karton geklebt - im unteren Kartonrand jeweils von Otto Muehl signiert. Die meisten Photos haben sich vom Karton gelöst oder sind stärker gelockert. Die Vier Klebpunkte sind bräunlich verfärbt ( Kleber der Zeit) . Zustand der Photos : gut. An den Rückseiten jeweils die entsprechenden Klebpunkte ( bräunlich aber nicht durchdringend / Klebpunkte ca. 5 DM Stück Groß ) Schwache altersübliche Lagerspuren ( Mappenlagerung) ein Photo schwach fleckig. Beiliegend das Deckblatt , hier von Otto Mühl signiert und nummeriert. Desweiteren ein Typoskript auf Karton , unsignierter Brief von ''g. frey '' ( getippt/ Schrift violett) ebenfalls mit 4 Klebpunkten montiert . Am unteren Klebpunkt leicht anlädiert. Alles in der gelben festen Flügelmappe mit dem von Otto Muehl aufgetragenen Titel. Format der Flügelmappe ca. 26 x 31 x 1,5 cm. Die feste Flügelmappe ( starker Karton gefaltet ) ist vollständig gelb bemalt. Aus einer gepflegten und sehr umfangreichen Privatsammlung ( viele seltene Erstausgaben, bibliophile Werke ) Weitere Exemplare dieser Bibliothek finden Sie ( bzw. werden gelistet) in dem Katalog '' Bibliophile Bibliothek H.'' ) x1 International shipping air mail: 3.50 euros to 500 grams. 7 Euros to 1000 grams. Books about 1000 grams individually Sprache: Deutsch Gewicht in Gramm: 1100 [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Versandhandel Rosemarie Wassmann]
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        The Haggadah

      Jerusalem: "Massadah" and "Alumoth" ND (c1970)., 1970. 8vo. Unpaginated. Full color illustrations by Szyk. Printed on thick stock, accordion style, with Hebrew on rectos and English on versos. Original silver metal binding, deep bas relief both covers, hinged at spine. With 4 turquoise inlays and red, white and pale blue enamel details front cover. In the original clear cellophane DJ and color illustrated white paper covered box which has "A Superb Colorful Edition". This is a very fine book in a close to fine box. Scarce thus.. Hardcover. As New/Dust Jacket Included.

      [Bookseller: Thomas Dorn ABAA]
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      Editions Weber 1970 - - Editions Weber, Paris 1970, 25,5x29,5cm, 4 volumes en reliure de l'éditeur. - Edition originale de la traduction française. Reliures de l'éditeur en plein skyvertex rouge, dos lisses, exemplaires complets de leurs jaquettes qui ne comportent aucun défaut ainsi que de leurs rhodoïds. Très riche iconographie. Agréable ensemble. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition of the French translation. Binders full of red skyvertex editor, smooth back, complete copies of their jackets that are free from defects and their rhodoïds. Very rich iconography. Nice set. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Rubin: My Life, My Art: An Autobiography and Selected Paintings

      New York: Sabra Books/Funk & Wagnalls, 1970 WITH ORIGINAL DRAWINGFirst edition. 12" x 8 3/4". Two page introduction by Dr. Haim Gamzu. 43 plates in color, over 50 b/w illustrations, pictorial endpapers. Dust jacket (unclipped; few nicks and creases; few short tears). Very good. 227 pages.Signed and inscribed by Rubin on half title page to Mrs. Virginia Scott, 1971, with a large original drawing in blue ink of a shepherd, lamb and palm tree (see page 90 for a smaller similar pen and ink drawing in a Geneva collection).Rubin (1893-1974), Romanian born romantic impressionist Israeli artist, noted for landscapes of the Holy Land.

      [Bookseller: George Houle Rare Books & Autographs]
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        Revue Ou 36-37

      Henri Chopin, Ingatestone, Essex 1970 - 265x265mm. Numbered 462 of an edition of 500. Vinyl record includes Ladislav Novak, Hugh Davies, Sten Hanson, Henri Chopin, and Bernard Heidsieck. Texts and works by Raul Hausman, Novak, Stefan Themerson, Alice Hutchins, Anna Lockswood, prints and poems by Tom Phillips, Paul Neuhys, J.C Moineu, Harvey Matusow, Raoul Hausman, Paul de Vree, Chopin, Seuphor, Brigitte Chopin. Red plastic sculpture cover by Bertini. Condition: wear, creasing and two 20mm closed tears to covers, wear to spine. Inner contents in Very Good condition.

      [Bookseller: William Allen Word & Image]
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        Taluma trillosa

      Milano: Grafica Uno, , 1970. Ottimo (Fine). Litografia. Cm 50x70. . Ottimo (Fine). Tiratura: 40.

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

        Quaderni di Tèchne, n° 5, marzo 1970. Teatro 1

      Firenze: Téchne, , 1970. Fogli sciolti con graffetta (loose pages with clip). Molto Buono (Very Good). Quaderni di Tèchne: Teatro, marzo 1970. A cura di Eugenio Miccini. Importante numero speciale monografico della rivista che raccoglie articoli, interventi o testi teatrali di Patrizia Bonifazi, Achille Bonito Oliva, Jean François Bory, Giusi Coppini, Guerrieri William, Boni Angelo, Damini Bruno, Galligani Renzo, Timm, Ulrichs, Tomaso Kemeny, Ketty La Rocca, Giuseppe Manigrasso, Lucia Marcucci, Eugenio Miccini, Jean-Claude Moineau, Arturo Morfino, Luciano Ori, Michele Perfetti, Lamberto Pignotti, Franco Ravedone, Fride Rosenstock, Gianni Rossi, Cesare Ruffato, Sarenco, Gregorio Scalise, Gruppo S/ESSERE, Mauro Bonciani, Mario Conti, Manbert, Carlo A. Sitta, SPAZIO 7, Maurizio Copedé, Nicola Hoffmann, Walter Sarfatti, Christian Tobas, Gianni Toti, Franco Vaccari e Ben Vautier. Con tavole e fotografie in bianco e nero. 4to. pp. circa 140. Molto Buono (Very Good). Fioriture leggere ad alcune pagine (Some light yellowing). Prima edizione (First Edition).

      [Bookseller: Studio Bibliografico MArini]
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        Nouvelles exemplaires : Rinconete et Cortadillo, L'Illustre laveuse de vaisselle. Gravures originales de Enrique Marin.

      Paris: Les Centraux bibliophiles, 1970. Livre. Illus. by Enrique Marin. Parfait. En Feuilles. In-4. Paris, Les Centraux bibliophiles, 1970. 33 x 25,5 cm, in-4, 128 (3) pp. - 18 gravures en noir dont 2 à double page, 1 à pleine page et 15 dans le texte, en feuilles sous couverture imprimée et coffret de l'éditeur. Tirage à 125 exemplaires, celui-ci l'un des 120 sur vélin de Rives (n° 110). Exemplaire enrichi de l'une des 10 SUITES sur Japon nacré (il fut également tiré 10 suites sur Auvergne). Très bel exemplaire, rare avec la suite. (MONOD, 2458) (2,5 kg).

      [Bookseller: Des livres autour (Julien Mannoni)]
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        Mappe mit 5 signierten Lithographien. Edition Rudolf Vieler. Trescore Cremasco.

      - Dortmund, Officene Carmers Kunstanstalt, um 1970, 5 handsignierte Lithographien in Original-Papp-Mappe (diese etwas bestoßen und angestaubt) *Nr. 49 (von 50?) Exemplaren der signierten Ausgabe "Exklusiv-Ausgabe. Die Mappen wurden numeriert und die Blätter vom Urheber signiert)

      [Bookseller: Antiquariat Martin Barbian & Grund GbR]
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        THE HOT ROCK.

      New York: Simon & Schuster, [1970]., 1970. First edition. Fine in dust jacket. Signed by the author. Introduces John Dortmunder to mastermind the theft of an emerald valued at $500,000. 20th Century Crime & Mystery writers says, "Westlake's greatest contribution to the literature of criminal lunacy is the series of novels beginning with THE HOT ROCK (1970) in which the inept John Dortmunder and his team of idiot accomplices dream up and attempt to pull off the ultimate in big capers, only to wind up flat on their prats."

      [Bookseller: BUCKINGHAM BOOKS]
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        Griechisches Skizzenbuch, herausgegeben von Georg Theodor Ganslmayr. Mit einer Einführung von Heinz Spielmann,

      Luzern, Edition Bucher, 1970. VORZUGSAUSGABE, Mit 24 mehrfarbigen Zeichnungen auf Tafeln, 37x49, helles grobes O Ln im hellen groben O Ln-Schuber SCHÖNES EXEMPLAR der VORZUGSAUSGABE mit 1 lose beiliegenden signierten Original-Lithographie (Krieger). Eines von 100 (von XXVI-CXXV) im Impressum römisch nummerierten Explemplaren der Vorzugsausgabe, Den Druck der Lithographie besorgte Wolfensberger, Zurich auf Zerkall-Bütten. HIER die NR. CVII Versand D: 5,00 EUR Ku 43463, ORIGINAL-LITHOGRAPHIE, i

      [Bookseller: Antiquariat im Baldreit]
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        The Voice of the Prophets: Messianic Prophecies

      Flemington, N. J. St. Teresa's Press, 1970. Thin 4to. 36pp. Quarter black morocco, marbled paper boards. Gilt spine title, gilt rune on the upper board. Hand illuminated in 23 karat gold, silver metallic and designer's colors. Handset in American uncial, printed on English handmade paper. One of 125 copies, this being No.5. This is one of the early treasures produced by St. Teresa's Press in its golden age of fine book production. A fine copy, with stunning illuminations. Fine.

      [Bookseller: Thorn Books, ABAA]
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        Senza titolo

      Milano: Grafica Uno, , 1970. Litografia originale a colori dalla cartella ''El circulo de piedra''. cm 55x45. . . Tiratura 125 + XXV.

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

        Zettels Traum. Faksimile-Wiedergabe des einseitig beschriebenen, 1334 Blätter umfassenden Manuskripts.

      Stahlberg (1970), (Stuttgart, Goverts, Krüger,) - Folio (44 x 32,5 cm). 1330 S. (Wie immer ist Zettel 515 in der Paginierung übersprungen). Grüne OLwd. m. gelbem Deckel- u. Rückenschild sowie OTransparentumschlag. Im OPp.-Schuber. Bock 1.1.20. - WG 49. - Erste Ausgabe. - Eines von 2000 Ex., von Arno Schmidt im Impressum signiert, zusätzlich mit Datumsangabe 5.3.70. - Beiliegend Verlagsprospekt zu dieser Ausgabe: Mit zahlr. Abb. 8 S. geheftet, ohne Bestellkarte. - Schuber gebräunt. Minimale Lagerspuren am Transparentumschlag, winziges Fleckchen am Seitenschnitt. Wohlerhalten. gr. [Attributes: First Edition; Signed Copy]

      [Bookseller: Antiquariat Düwal]
 28.   Check availability:     ZVAB     Link/Print  

        One hundred years of solitude. Traduit de l'espagnol par Grégory Rabassa.

      - Harper & Row, Plubishers. New York 1970, in-8° reliure de l'éditeur sous jaquette illustrée en couleurs. 422 pages. Edition originale de l'édition américaine. (First édition) Très bel exemplaire en parfait état. Sont joints à ce livre plusieurs coupures de presse en anglais.

      [Bookseller: Librairie La Rose de Java]
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        Anonyme Skulpturen. Eine Typologie technischer Bauten.

      Düsseldorf, Art-Press, 1970. Unpaginiert. Mit s/w-Fotografien. 28,5 x 22,5 cm, Leinen mit Schutzumschlag Bibl.-Ex., Guter Zustand. Deutsch-Englisch-Französisch / German-English-French. Schutzumschlag mit kl. Knickspur. Versand D: 3,50 EUR Technik, Baugeschichte, technische Bauwerke, Baukunst, Industriebauten, Kalköfen, Kühltürme, Hochöfen, Wassertürme, Gasbehälter, Silos

      [Bookseller: Antiquariat Thomas Haker GmbH & Co. KG]
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        Histoire Critique De Manichee ET DU MANICHEISME


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


      Brunidor, Vaduz 1970 - EDITION ORIGINALE de ces quatre lettres de l'écrivain, auxquelles BRYEN répond par 4 EAUX-FORTES en couleurs hors texte. Tirage à 75 exemplaires numérotés sur grand vélin de Rives, signés par l'auteur et l'artiste. Un des XX hors commerce. [Attributes: Soft Cover]

      [Bookseller: Librairie-Galerie Emmanuel Hutin]
 32.   Check availability:     AbeBooks     Link/Print  

        A vast archive of thousands of items from the late attorney Jack Kershaw, who represented Martin Luther King assassin James Earl Ray in the mid-1970s. It includes over 100 fascinating content items signed by Ray as well as never released audio recordings and significant information concerning "Raul" whom Ray claimed to be the mastermind of a conspiracy to assassinate the civil rights leader.

      Various, 1970s. "A remarkable and important archive of material pertaining to Ray's association with attorney John Karl ""Jack"" Kershaw (1913 - 2010) consisting of Kershaw's legal files pertaining to his representation of Ray during the mid 1970s. The archive is comprised of two parts: (1) approximately 2.5 linear feet of material including manuscript and typescript documents and letters, original photographs and photocopies together with (2) approximately eleven hours of never-before-broadcast or published audio taped conversations between Ray and his attorneys in March 1977. The archive features approximately 100 letters and documents signed by James Earl Ray the convicted assassin Martin Luther King (including 2 Autograph and 82 Typed Letters Signed together with countless Documents Signed) most of which are addressed to Kershaw who began corresponding with Ray in 1974 and becoming his lead attorney in 1977 before Ray fired him. The documents and correspondence cover an enormous variety of subjects including Ray's effort to secure a retrial (claiming his intial confession was coerced); his 1977 prison escape and capture; Ray's notorious interview with Playboy in which he famously failed a polygraph test reinforcing the view that he acted alone in the King assassination; fielding other magazine and television interviews, Ray's efforts to resist transfer to a federal prison, a suit against Time magazine for libel, among many others. The audio recordings consist of 18 reels of 1/4 in. unedited audio tape which constitute approximately eleven hours of conversations between Ray, Kershaw and others between March 11-22, 1977, most of which are labeled n the cases: ""Ray"" and ""Ray and Committee"" [recorded at 7 1/2 ips., each reel, 1800 ft., stored tails out].We have only been able to sample a very small portion of the audio tapes, but from the small samples we digitized, the conversations appear to be all interviews with Ray on a variety of subjects including Ray's claims about ""Raul,"" whom Ray claimed to be the mastermind of a conspiracy to assassinate the civil rights leader, as well as his planned testimony before the House Select Committee on Assassinations. The tape has been very well preserved and the audio quality is very good. Ray's new defense lawyer Kershaw began his association with Ray in 1974 after Ray wrote to the attorney at the recommendation of his brother ""Jerry Ray, saying you might be willing to represent me in a legal matter."" Kershaw represented Ray in his suit against Gerald Frank, the author of An American Death; its publisher, Time Inc.; William Bratford Huie, the author of He Slew the Dreamer and others seeking $500,000 in damages for ""alleged libel and violations of Civil Rights Statutes."" A federal judge dismissed the suit in September 1976. Kershaw also represented Ray in his battle to remain in state prison after the Governor of Tennessee sought to have him moved to a Federal Prison. According to a rambling document signed by Ray, ""News dispatches updated June 14, 1977, quotated [sic] the governor of the state of Tennessee, Hon. Ray Blanton, as writing the WHITE HOUSE and offering me to the president of United States. The White House was reported thereafter 'considering' the offer... Please consider the following: 1) I am not a federal prisoner, have no intention of being one, nor do I have a federal container against me. ... December 1973 the Federal Government, apparently represented by, Norman Carlson & J Stanley Pottinger, in collusion with several state politicians, attempted an illegal transfer of me to the Federal mental institution in Springfield Missouri. During this period a program called Project S.T.A.R.T. was in progress; the project evidently consisted of forcing prisoners to take drugs and submit to other therapeutic devices -- if the prisoner refused to participate ... he was placed in solitary confinement. 4) in addition to the aforementioned 'project', the federal prison system has an apparent history of permitting certain uncooperative prisoners ... murdered by F.B.I. informant types. ... shortly thereafter before the information select committee testified that the FBI (which had no jurisdiction over the matter, and the assistance was not requested by state officials) beat one or more of the prisoners with weapons attempting to force them to inform the FBI where James Earl Ray was at. If the United States government is interested in killing me and they are going to have to do by forcible [sic] removing me from the state prison in Petros, Tennessee, not from ambush in a federal prison, or a federal mental institution, then the above-mentioned parties to the transfer can answer for the acts in civil suit..."" This is but a telling sample of the content that can be found in this vast collection. ""Raul"" In 1977, Ray formally retained Kershaw as his lead attorney. In that capacity, Kershaw arranged for Ray to give testimony before the House Select Committee on Assassinations (albeit behind bars) advancing a vague conspiracy theory in which Ray was the unwitting accomplice to a plot to kill Martin Luther King. Of tremendous interest is a four page typed chronology, most likely typed by Ray himself, (as it was accomplished on the reverse of lined paper with numerous unprofessional corrections), detailing his interactions with ""Raul,"" who Ray claimed to be at the heart of the alleged conspiracy. Ray's chronology begins on June 24, 1967 when he left his job (""Quite [sic] job""). Ray then provided a bulleted account of his travels from Chicago to St. Louis to Montreal where on July 18, for example, he ""Robbed whore-house... "" Soon afterwards he ""met Raoul several times but desoded [sic decided] nothing"". Ray's chronology continues mentioning meetings with Raoul in New Orleans, trips to Mexico leading to April 4, 1968: the day King was killed in Memphis. The final entries in Ray's chronology directly implicate Raul in the purchase of the weapon that killed Dr. King: ""47. Roual [sic] came back 24th. [March] (or to drunks first?) then came to my place across street (I had told him might be their [sic]) said he would come around 11 o'clock, I heard him knocking at door, kicking on door; we deside [sic] before he left to leave side door open; said stick close as may need to take trip [to] Miami; I stuck close ...48. Roual [sic] picked me up march 29th. where we went to Bir[mingham]. purchased rifle; 30th had to take back; I left for memphis 30th. and stayed that night in Florence; left florence 31st. left Miss. town 1st. left another Miss town 2nd. left Desoto 3rd."" Ray then adds in a shorthand that obscures its meaning: ""(Prosecution no I desoto?] & not as stips[?] say,in Atlanta) left new rebel [motel] 4th."" Kershaw's public statements concerning Ray's presumed innocence, and his intention to have Ray testify before the House Select Committee with the ""Raul"" story drew the ire of Harold Weisberg (1913 - 2002) who had voluntarily worked as an investigator for Ray. On March 6,1977, Weisberg wrote Kershaw: ""A news story in this morning's Washington Post including direct and indirect quotations of you troubles me deeply in a number of ways. From the saying about fools rushing into the finding of the sixth circuit Court of Appeals about a lawyer seeking to commercialize a sensational case. One of the reasons I write is to ascertain the accuracy of the words attributed to you. I want you to understand that what is attributed to you is defamatory of Jim Lesar and me for certain and probably of Bud Fensterwald. ... As a matter of fact, without consulting with his defense, Jimmy did file allegations of conspiracy and conspirators in court. You have not bothered to familiarize yourself with the case... If you had, you would know of this and the fact that when the press checked his allegations out you cannot be totally without basis.... You really have thrown him to the starving Congressional wolves. They have been conducting a low-grade media event and are self-destructing. They have steadfastly refused to look into the basic facts of the crime. The staff, in fact, invented proofs of guilt to deceive the Members. The Members were lied to on this by the staff, particularly by the Department of Justice lawyer, and supported by Dick Sprague. The story says, 'Kershaw, who said Ray retained him last week.' You know this is false. I have known of your representation of him since last year. I was told it was limited to the filing of civil suits. False statements attributed to you added to false statements you attribute to Jimmy are not in any way helpful to him or his defense. They did, of course, get you in the headlines. I await your written apology for your defaming me. Fine asked about any of this but press I will, of course, tell the truth ... fairly large number of reporters did investigate Jimmy's earlier representations about conspirators and found without substance. A large number reporters know the amount of work Jim Lesar and I've done without any pay and at our own expense. Reporters, all with major papers, know of the 1970 Department Justice offer to Jimmy. ... It is difficult for me to imagine how you could have done more damage to Jimmy and hurt and interfere with what I have regarded ... very good prospects, very good at least until you sniffed the free advertising lawyers cannot buy. This is precisely what ruined Jimmy in the past..."" Despite Weisberg's protestations, Kershaw arranged for Ray to testify before the House Committee and advance the tale of ""Raul"" In his own testimony, Kershaw told the House panel that on the afternoon of King's assassination in Memphis, ""Raul"" had told Ray to go and see a movie ?" placing him away from the Lorraine Motel at 6pm. when King was shot on the balcony. Ray didn't go to the movies, Kershaw testified, instead he had a spare tire fixed. Yet Kershaw could produce no witnesses. Kershaw convinced the committee to conduct new ballistics tests on the rifle. They proved inconclusive. The Playboy Interview Ray's tales of ""Raul"" became the centerpiece of his 1977 interview with Playboy magazine. Kershaw and Ray viewed the interview, that was to include a polygraph test, as a chance to vindicate Ray. When negotiating with Playboy, Kershaw demanded a contribution for the legal defense fund that he had established for Ray. Playboy declined, citing a policy of not making contributions to legal defense funds. They offered a compromise: Kershaw would be paid as a research consultant on the interview. (It wasn't Playboy's business if Kershaw chose to use the funds in Ray's defense). According to a letter of agreement between Keshaw and Playboy, the magazine was to pay the attorney $1,000 for ""all right title and interest, including all rights of copyright, in and to the preliminary research material already completed..."" In addition, Playboy would pay him an ""additional $12,000.00 for your participation, as researcher and editorial consultant..."" The collection includes a stub for a $4,000 installment as well as an uncashed check for $150 payable to Kershaw's wife, who took photographs for the interview. (The collection includes numerous original black and white photographs taken by her as well as contact sheets). On July 6,1977, Kershaw and Ray agreed to form a legal defense fund called ""Defense fund for Ray."" The fund was to be ""financed by contributions, and sales of books, records, souvenirs, movie rights and by all other lawful means. ... All net proceeds of such activities will be placed in the fund ... the fund will be used exclusively to defray all costs of preparation for the trial and the trial itself and appeals if necessary ... After the trial all funds remaining will be divided 50-50, between Ray and Kershaw..."" The preparations for the interview were interrupted when Ray escaped from Brushy Mountain State Penitentiary on June 10, 1977. He was captured three days later and the state imposed an additional year to his 99-year sentence. Amazingly enough, the agreement Playboy executed with Kershaw was dated the day after Ray was captured...June 14! In a rare Autograph Letter Signed, June 14,1977, Ray writes Kershaw, ""I thought I would write you after my brief vacation. Yesterday a prison official said you had called and asked that I return the call; inasmuch as the officials were trying to play the matter for its P.R. effects I suspect they delicately declined to let me make the phone call being concerned at what you would say to the press..."" Only a week later, on June 22, Ray would take the polygraph at the prison. According to Playboy's press release: ""In the polygraph test, Ray answered, 'No,' to the question 'Did you kill Martin Luther King, Jr.?' at the point marked 5 on the test .... For about 20 seconds following his reply, the graph shows, according to the examiners, 'significant emotional disturbances indicative of deception.'"" The archive includes annotated copies of the polygraph readings together with a list of the questions posed during the interview. Ray's failure of the polygraph test created a huge splash for Playboy in their September 1977 issue. Almost immediately Ray sued Playboy for defamation. On August 13, Kershaw advised Ray ""it would be well to give this some second thoughts. What's the hurry? Arn't [sic] you acting too hastily again? You are upset because their charts show you lied when you know you didn't. I think there is an error in their chart which is published in the magazine. I have had it studied by experts here in Nashville and they find all kinds of fault with it..."" Offering to bring in another lie detector company, he reminded Ray, ""...that I will allow no polygraph test to be admitted into evidence unless it is favorable. By the time of the trial the Playboy test will be washed away as defective."" This did little to deter Ray who expanded his suit to include Kershaw accusing him of misappropriating the funds paid by Playboy and claiming he deliberately ""acted to defraud & illegally retain monies he (Defendant) collected from selling interviews of Plaintiff to the commercial communications Industry."" Kershaw countersued Ray citing the July 6, 1977 agreement establishing the legal defense fund. The file concerning the suit and counter suit includes several original interrogatories signed personally by Ray. Later relationship Needless to say, Ray fired Kershaw and replaced him with Mark Lane (b. 1927), the attorney and noted conspiracy theorist. Apparently by May 1990 the sting of the affair had worn off and Kershaw made a sales pitch to Ray informing him that ""... a California producer wants to give you $2,200,000.00 for complete rights upon completion of production. This sounds pretty good at first blush, but it fails to provide you with any percentage ownership interest after production; a residual royalty, or ownership interest plan would yield much more money to you... A Nashville group is interested ... on this latter basis."" Kershaw urged Ray to pursue the offers ""for two reasons: (1) money, and (2) the beneficial effect of publicity, under our guidance, which would create a favorable atmosphere for your early release, which in my opinion is long overdue. I know of a number of legal scholars who agree with me. A movie would generate discussion and lead to a 'Release Ray' movement that would shed much light in heretofore dark corners."" Ray responded on May 22, indicating that he would be open to discussing the matter further. Later that summer, Ray wrote to Kershaw to gauge his interest in facilitating the sale of the film rights to his story which had been published in book form under the title Tennessee Waltz. In his August 13, 1990 letter Ray recalled, ""... As to background, Initially my agreements were with Tupper Saussy, and I had given him a power-of-attorney to arrange to have the Waltz book published; however, he had to rush the editing process since he was appealing his prison sentence. The result: he became a fugitive, the book editing wasn't too good althought [sic] the factual information therein was OK, and when he left he took everything with him, computer book wrote on plus the contract he had with me that he had made out via the power-of-attorney & which I had never seen. Subsequently I had to sue him in chancery court to find out about the contract & generally just what was what..."" The file in which these letters lie also features Kershaw's extensive manuscript notes on the subject of film exploitation. The first page was headed with a list of suitable film people to approach, beginning with ""Oliver Stone?"" (His punctuation, not ours). It appears that none of these offers ever materialized. Kershaw also tried his hand at turning Ray's story into a book. The archive includes a 66 page draft manuscript in Kershaw's hand titled, ""The James Earl Ray Story."" Kershaw himself was an outspoken white supremacist. He was a founder of The League of the South, an organization that according to their website, seeks to ""advance the cultural, social, economic, and political well-being and independence of the Southern people by all honourable [sic] means."" Kershaw also gained notoriety when he designed and commissioned an enormous equestrian statue of Confederate general Nathan Bedford Forrest, one of the founders of the first Ku Klux Klan, that sits in a private park just off of Interstate 65 near Nashville. The statue drew enormous criticism, but Kershaw defended it, remarking to the New Orleans Times-Picayune that ""Somebody needs to say a good word for slavery."" This is an important archive of material that provides a truly intimate glimpse into Ray's world in a way that other resources cannot. We have only scratched the surface of this vast archive of material Apart from Ray and Kershaw, other correspondents include Ray's brother, Jerry Ray for whom Kershaw also did legal work; James Lesar, who worked with Harold Weisberg on Ray's defense efforts and many other state and federal officials who crossed paths with Kershaw and Ray. The collection also includes letters and cards sent to Ray by admirers. As noted previously, we have only been able to listen to small excerpts of the many hours of taped conversations between Ray and Kershaw that will very likely shed further insights into the mind of the man who confessed to murdering Dr. King in 1968. "

      [Bookseller: University Archives]
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        Blitz der schwarze Hengst (The black stallion) Band 1 der Blitz-Buchreihe von Walter Farley mit Illustrationen von Kajo Bierl

      Tosa Verlag, Wien 1970 - o.J. ca. 1970. 127 Seiten. Illustrierter Pappeinband. sehr starke gebrauchs und Lagerspuren, einband an den kanten bestoßen, etwas beschädigt,seiten vereinzelt und schnitt oben etwas fleckig. Blitz der schwarze Hengst (The black stallion) "Auf der Schiffsreise von Indien nach New York wird der junge Amerikaner Alec Zeuge, wie in einem arabischen Hafen ein bildschöner junger Rapphengst an Bord gebracht wird. Zwischen dem Jungen und dem ungezähmten Pferd entsteht eine tiefe Zuneigung. Nach einem Schiffbruch in schwerem Sturm wird Alec von dem schönen Hengst gerettet und auf eine Insel gebracht. Dies aber ist erst der Beginn dramatischer Ereignisse. " von Buchrücken 90er Tosa-Ausgabe Der US-amerikanischer Schriftsteller Walter Farley veröffentlichte 1941 sein Jugendbuch Blitz, der schwarze Hengst. Das Buch wurde mehrfach verfilmt, darunter von Francis Ford Coppola unter dem Titel "Der schwarze Hengst". Desweiteren bildete das Buch den Grundstein für eine Buchreihe, die 13 ersten Bände des Blitz-Buchreihe schrieb Walter Farley. Der 14 Band "Blitz, das schwarze Fohlen" schrieb er zusammen mit seinem Sohn Steven Farley, welcher nach dem Tod seines Vaters die Reihe weiterschrieb und noch 2 weitere Bäbde hinzufügte. Des weiteren schrieb Stanley Farley die Ableger Buchreihe "Blitz und seine Freunde", welche sich an eine jüngere leserschaft wendet. Die Blitz-Pferdebuchreihe, die sich allein in den Vereinigten Staaten in 12 Millionen Exemplaren verkaufte, war seit den 1950er Jahren auch im deutschsprachigen Raum sehr populär, zumal sie sich als Pferdegeschichte deutlich abhob da sie im Vergleich zu anderen Jugendromanen realistischer und weniger romantisierende Pferdedarstellung auszeichnete. Danielle Cerovina: " Farley nimmt sich viel Zeit, Eigenleben und Eigenwelt des Pferdes zu schildern, erteilt Einblicke in das Tierverhalten und Zusammenhänge in der Natur. Dadurch weckt er gleichzeitig Neugier für die Natur, Wesen des Pferdes und Mitgefühl mit dem Tier." 400 Gramm. [Attributes: Hard Cover]

      [Bookseller: Lausitzer Buchversand]
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        Multiple Maniacs (Original flyer for the Baltimore premiere of the 1970 film)

      Baltimore: Dreamland, 1970. Original flyer for the 1970 film. From the collection of frequent Waters collaborator Alan Rose. A flyer for the premiere private screenings of Waters' second feature film. The flyer notes that there are to be 9 screenings on April 10, 11, and 12, 1969, shows at 8PM, 10PM, and midnight, at the First Unitarian Church ("new location this year") at the corner of Charles and Franklin Streets in Baltimore, Maryland. The only copy we have ever encountered. 8.5 x 11 inches, photographically reproduced. Fine.

      [Bookseller: Royal Books, Inc.]
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        General Dynamic F.U.N. (Volume II of Moonstrips News)

      London: Editions Alecto., 1970. First edition. Hardcover. Very Good. Folio. Edition B, number 7 of 350, one of 70 copies with this set of plates. With title page, 3 leaves of text and 50 plates by Paolozzi. Six of which are signed and numbered by Paolozzi in pencil. Original gilt coloued acrylic resin boxes. The images are loose as issued . Box is little scratched. A few plates with light finger creasing. All of the images are stamped on the reverse with the title, number, printer's and publisher's chops and a stylised facsimile of the artist's signature. There is an introductory text by J.G. Ballard. "Early in 1965, Eduardo Paolozzi began work on a massive project to create from his eclectic and unique collection of twentieth century ephemera a definitive statement on modern man and his dilemma, in the form of a 500 page book. The first volume of this project "Moonstrips Empire News".was published in 1967. In the second volume, General Dynamic F.U.N., Eduardo Paolozzi has broken still further away from accepted fine art printing techniques by brilliantly exploiting the potential of photolithography as well as screenprinting."

      [Bookseller: Roe and Moore]
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        Portnoy's Complaint (Original screenplay, cinematographer Philip Lathrop's working copy)

      Burbank: Warner Brothers, 1970. Early draft script for the 1972 film, "Portnoy's Complaint," based on the 1969 novel by Philip Roth, written for the screen and directed by Ernest Lehman, and starring Richard Benjamin, Karen Black, and Lee Grant. Cinematographer Philip Lathrop's working copy, with his holograph name at the top of the title page. A planning script likely used well prior to shooting, with very neat holograph annotations by Lanthrop on virtually every page regarding sets, locations, day/night shoots, etc., and with three tabs manually appended at the page fore-edge to indicate the three principal shooting locations: Vermont, Italy, and Athens. At the rear are 8 pages of detailed equipment orders, all relating to photographic hardware and associated shipping charges to various locations. The second Roth novel (after "Goodbye, Columbus" in 1972) to be adapted to the screen, and the sole directorial effort for noted screenwriter Ernest Lehman ("North by Northwest," "The Sweet Smell of Success," "Sabrina," "West Side Story," The Sound of Music," and "Who's Afraid of Virginia Woolf?"). Yellow studio wrappers, with credits on the front wrapper for Warner Brothers and the Chenault Productions. Title page present, with a date of August 3, 1970 and credits for Lehman, (as screenwriter) and Roth (as novelist). 149 leaves, mechanically reproduced, rectos only. Pages Near Fine, wrapper Very Good plus with lightly yapped edges. In a customer quarter leather clamshell box.

      [Bookseller: Royal Books, Inc.]
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        One Hundred Years of Solitude

      Harper & Row, 1970 A fine first US edition (stated on copyright page and no numbers in rear) in a fine dust jacket (with period not exclamation point). Housed in a custom-made collector's slipcase.

      [Bookseller: Bookbid Rare Books]
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        daily mirror. variante der als \"quadratbuch\" bei de jong in hilversum 1961 erschienenen mappe.

      Stuttgart. London. Reykjavik. Edition Hansjörg Mayer. 1970. Auflage 1000 Exemplare. 23 x 17 cm. [472] S. OKarton in überarbeiteter Wellpappen-Manschette. Ohne das Spanngummi (als Halterung der beiden Minibücher), sonst sehr gutes Exemplar. Gesammelte Werke Band 10. Nummer 17 / 100 der bearbeiteten Vorzugsausgabe mit einem von Dieter Roth entworfenen Multiple. Als Umschlag für Band 10 der Gesammelten Werke entwarf Roth eine mehrfach verleimte, gelb gestrichene Wellpappe mit Fensteraussparungen vorne und hinten, in denen jeweils ein Miniaturbuch der \"Daily Mirror Books\" (ca. 150 Blatt ausgeschnittene Tageszeutungsseiten im Format 2 x 2 cm) montiert ist. Beide Miniaturbücher sind auf dem Deckblatt handschriftlich monogrammiert D.R. und datiert 70. Der Innendeckel der Wellpappe ist handschriftlich nummeriert 17/100. Die im Buch genannte Angabe von 200 Exemplaren der Vorzugsausgabe ist falsch, selbst ob tatsächlich die gesamte Auflage von 100 Exemplaren durch Dieter Roth hergestellt wurden, ist nicht verbürgt. Der enthaltene Band ist die erste Ausgabe innerhalb der Gesammelten Werke und die zweite Ausgabe als Variante des 1961 erschienenen \"Quadratbuch\". Es fehlt das Spanngummi, das Umschlag und Buch verschließt. Äußerst selten. [Vgl. Dobke. Roth - Bücher + Editionen S. 159 mit Abbildungen]. Versand D: 2,00 EUR 20. Jahrhundert / 20th Century, Deutschland / Germany, Österreich / Austria, Signierte Bücher / Signed Books, Künstlerbücher, Vorzugsausgaben

      [Bookseller: Antiquariat Querido - Kunst und Fotograf]
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        Royal Flash.

      London: Barrie and Jenkins (1970)., 1970. First British printing. 8vo. 261 pp. Map endpapers. Original red boards. SIGNED by Fraser on the title page. Slight edge dustiness else tight, fine in a DJ with several small edge chips/tears, very good minus. Scarce signed.. Signed by Author(s). 1st Edition. Hardcover. Fine/Dust Jacket Included.

      [Bookseller: Thomas Dorn ABAA]
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        Warhol, Andy.

      1970 1970 - 4°. Ausstellungskatalog Musée d’Art Moderne de la Ville de Paris. Twelve-page leporello. Color silkprint illustrations, of which two full pages and a photo portrait of Andy Warhol. Text in French by G. Brownstone and A. Pacquement.

      [Bookseller: Kunstkiosk im Helmhaus]
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        Atlantic Salmon Flies & Fishing

      Harrisburg, Pa, 1970. First edition, one of 600 signed copies, with a special reproduction of a watercolor by Weiler done only for the deluxe edition. Line drawings by Milton C. Weiler. 1 vols. 8vo. Cloth. Very fine in slipcase. Weiler, Milton C. First edition, one of 600 signed copies, with a special reproduction of a watercolor by Weiler done only for the deluxe edition. Line drawings by Milton C. Weiler. 1 vols. 8vo. Deluxe Issue.

      [Bookseller: James Cummins Bookseller]
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      Edition originale, un des 100 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 642 autres B.F.K. de Rives.Précieux envoi autographe daté de Janvier 1970 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise.Agréable exemplaire. Les éditions de minuit Paris 1969 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        7 Typed Letters, signed and 1 Autograph Letter, signed to Jimmy Heinemann

      1970. Letters concerned with the death of Rockefeller's mother; the expansion of Mexican Light and Power, which "supplies 52% of all the power produced in this country and serves most of the important industrial areas in and around Mexico City...At present practically all the electric energy we produce is consumed and unless we are able through expansion to produce more energy the program of the Government will be to no avail." "Our problems at present are immense. There are so many factors which enter into a request for credit with the World Bank that at times we feel almost submerged. However, I do believe we are making good and steadfast headway and that soon we will be able to obtain those moneys which are not only necessary to the company but also to the economy of Mexico and to a certain extent the well-being of Latin America"); David's brother Stephen, who "hopes to enter for his own account the dye-stuffs industry...he is intrested in producing high class dyes of which a great penury exists in the States today, since Germany is no longer supplying them"; the incorrect attribution of an article to Rockefeller ("Fortunately, however, I think it is reasonably accurate and therefore will do no harm"); Heineman's move to the firm Model, Roland & Stone ("it is a very aggressive and up-and-coming firm"); Heineman's editorials on the "inevitability of a U.S.-U.S.S.R. rapprochement" and "the desiribility of a Sino-U.S. rapprochement...I feel that people throughout the country are very much more prepared to accept the realities of Mao Tse-Tung's government than the State Department seems to think they are"

      [Bookseller: James Cummins Bookseller]
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        Reigen. Mit 10 zweifarbigen Original-Lithographien von Otto Bachmann..

      Ascona, Centro del Bel Libro, 1970 Gross-2° (52 x 34 cm), 84 S. Mit 10 vom Künstler einzeln sign. u. num. Kreidelithographien., OLwd-Kassette mit Rückentitel mit losen Bogen, Kassette angeschmutzt, innen tadellos Exemplar 22 von 80 arab. numerierten Exemplaren auf Rives-Raisin-Bütten (Gesamtaufl. 140 Ex.). Im Impressum von Otto Bachmann num. u. signiert. Die Lithographien wurden vom Atelier Mattheu in Zürich unter Aufsicht des Künstlers abgezogen. Den Druck besorgte die Druckerei Berichthaus. Die Gesamtherstellung betreute Josef Stemmle. Centro del Bel Libro. Ascona. Versand D: 20,00 EUR Illustr. Bücher - Originalgrafik

      [Bookseller: Antiquariat Peter Petrej]
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        "Dodge Sportflite" Concept Art

      1970. Watercolor and pastel on illustration board. Signed "William A. Moore" Intriguing concpetual drawing for an unusual pickup truck Three views of a rather dazzling vision of a pickup truck, and though the "Dodge Sportflite" was never produced, the idea of making more luxurious and innovative pickup trucks has definitely caught fire since the time of this handsome drawing. This design brings the driver over the engine, as in many heavier trucks, giving the driver greater command of the road, especially for town and city driving. The styling of the cab and cargo bed is anything but mundane with lines, vents, a black ribbon around the cab, and two large additional brake lights that add a notes of elegance and creativity to the overall effect. "In 1956, William Moore won the General Motors Fisher Body Craftsmen' Guild National Exhibition for his car design. In 1968, he accepted a position as Head of Design for Lear in Reno, Nevada. William Moore's art has been placed in...the Smithsonian and the Favell Museum of Art and Artifacts..." (The Museum of Automotive Art and Design website). The Museum of Automotive Art and Design website, artist biographies # 129.

      [Bookseller: Donald Heald Rare Books]
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