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

        Atlantic Salmon Flies & Fishing

      Harrisburg, Pa 1970 - 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. Line drawings by Milton C. Weiler. 1 vols. 8vo First edition, one of 600 signed copies, with a special reproduction of a watercolor by Weiler done only for the deluxe edition. [Attributes: First Edition; Signed Copy]

      [Bookseller: James Cummins Bookseller, ABAA]
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        DORIS.

      1970 - RAMBOW Gunter. DORIS. Frankfurt, März Verlag, 1970. (325 x 237 mm), 144 pp. Broché, couverture illustrée par Bernt Höppner. RAMBOW a été l'un des principaux concepteurs graphiques de l'Allemagne pendant plus de trois décennies. Malgré sa superbe couverture audacieuse, ce livre est plus basé sur le sexe féminin. Il contient deux séries de photographies, La première est composée de photos de femmes nues, jambes écartées - pornographie douce pour l'Allemagne de l'Ouest à cette époque, pornographie dure pour la plupart des autres pays. La deuxième série se compose de très gros plans de l'appareil génital, si proches qu'ils sont semi-abstraits. Première édition de ce livre mythique. Etat presque neuf. 1200 ¿ [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Dutel]
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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]
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        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]
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        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

      FREDERIC BERNARD, AMSTERDAM 1970 - FRA

      [Bookseller: Biblioteca di Babele]
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        LETTRES ECRITES DU NOUVEAU MEXIQUE

      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]
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        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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        Sans

      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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        Nouvelles exemplaires : Rinconete et Cortadillo, L'Illustre laveuse de vaisselle. Gravures originales de Enrique Marin.

      Les Centraux bibliophiles, Paris 1970 - 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) [Attributes: Soft Cover]

      [Bookseller: Des livres autour (Julien Mannoni)]
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        Autograph Letter Signed, on his personalized "Dr. Seuss," blue stationery, 4to, address printed as "The Tower, La Jolla, California," n.d. ca 1970-71

      - Geisel writes in his print style handwriting referring to a "N.Y. Times" story about the Lyndon Johnson party. "To explain my mystifying presence at this shindig, I'm enclosing a copy of The Lorax.(my forthcoming book for kids about Ecological Problems).the original drawings of which now reside at his request in his library. I'm now engaged in expanding it into a T. V. Special for C.B.S. for adult audience as well as kids." He signs, "Ted." The book is not included. The animated musical based on Geisel's "The Lorax" aired on CBS on Feb. 14, 1972. The story formed the basis for the 2012 film, "Dr. Seuss' The Lorax," described as a "computer-animated 3D musical fantasy comedy film." According to "The Man Who Was Dr. Seuss: The Life and Work of Theodor Geisel," by Thomas Fensch, Ladybird Johnson's secretary had met Geisel who described this forthcoming "The Lorax." She suggested because of the environmental nature of the book, that it could help Ladybird Johnson's campaign in cleaning up the environment and would he consider contributing the manuscript to the Lyndon Johnson Presidential Library in Austin. Geisel then called President Johnson offering to donate both manuscript and artwork for "The Lorax." His offer was accepted.

      [Bookseller: Schulson Autographs, Ltd.]
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        Penthesilea - Illustrated with 11 handsigned etchings by Oskar Kokoschka

      Editions de Beauclair, Paris 1970 - - PRESENTATION : in folio in leaves under illustrated wrapper and linen case. - ILLUSTRATION : 10 full page etchings handsigned & numbered by Oska KOKOSCHKA, the first one is repeated on the title page. - PAPER : Auvergne vellum. - SIZE : 50 x 38 cm (20 x 15"). - SIGNATURE : Each etching is pencil signed by KOKOSCHKA, also handsigned by the editor. - LIMITED : 100 copies (each etching is pencil numbered). - REFERENCES : Welz 454-463 / Spindler 40-49. - CONDITION : Excellent. ASK FOR EXTRA PICTURES [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Artfever]
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        Le Goût du Bonheur. Trois Carnets d\'Atelier.

      Paris: Éditions cercle d\'Art, 1970. Nr. 394 von 666 französischsprachigen Exemplaren. 31 S., 71 Lithographien. Lose Blätter in Mappe, Büttenpapier mit Wasserzeichen ARCHES, Schuber u. Mappe in geprägtem OLn. Sammlung von 71 Lithographien [davon 26 in Farbe], in Auswahl und Herstellung eng begleitet durch Picasso. Aufwendige Reproduktionen dreier Skizzenbücher Picassos aus dem Jahre 1964 [\"Suite érotique\"]. Druckverfahren mittels Dietz Offizin Handpresse unter Verwendung authentischer Farbanmischungen Picassos. Größe der Druckfläche ca. 10,5 cm x 16,5 cm, MAße der KAssete u. Blatter ca. 35 cm x 27,50 cm. Limierte Auflage von insgesamt 1998 Exemplaren, jeweils 666 in französischer, englischer und deutscher Sprache. Schuber und Mappe sauber und tadellos, Lithographien in sehr gutem Zustand.

      [Bookseller: Druckwaren Antiquariat GbR]
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        La Cravate ne Vaut pas une Médaille.

      - S.l. (Genève), S.n. (Rousseau) S.d. (1970). In-4° carré, en ff, sous emboitage objet décoré de cubes de Lego de différentes couleurs (voir photo) Livre objet entièrement sérigraphié et lithographié. Tirage limité à 200 exemplaires numérotés. Amusant ouvrage typique de l?époque.

      [Bookseller: Librairie In-Quarto]
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        Lexicon Spinozanum. Ed. von Emilia Giancotti Boscherini. Lateinisch mit Englisch-Italienischer Einleitung. 2 Bände: Bd. 1: A-K. Bd. 2: L-Z. International Archives of the History of Ideas.

      La Haye Martinus Nijhoff, 1970. 1. Auflage. XXXVIII, 629 S. / X, S. 630-1375. Gr.-8°. Originalleineneinbände mit goldgeprägtem Rückentitel. Sehr selten, gutes Exemplar. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Michael Solder]
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        The Diary of Samuel Pepys A New and Complete Transcription edited by Robert Latham and William Matthews BRIGHT, CLEAN SET IN DUSTWRAPPERS

      Bell & Hyman,, [1970-1983]. 11 vols., 8vo., with numerous illustrations and maps; cloth, gilt backs, a very good, bright, clean set in the dustwrapper. The definitive edition, comprising nine volumes of the diary, the Companion volume and the Index volume.

      [Bookseller: Island Books]
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        INSOMNIA OR THE DEVIL AT LARGE. GYPSYLOU SERIES #4 FOLIO. FIRST LIMITED NUMBERED

      Albuquerque 1970, Loujon Press. A paper covered wooden box,. 48.5 x 60.5 cm., 12 mat size folio color lithos, with spiral. bound book, SIGNED BY HENRY MILLER, A LIMITED HAND-NUMBERED. EDITION OF 385 COPIES. FIRST EDITION.Very clean, crisp copy.. The book cover is decorated foil paper on linen wrappers and covers 47 [2] spiral bound leaves. With a facsimile hologra- phic manuscript printed on recto only of 37 leaves. The book and all the illustrations are housed in a wooden box, with a very large black & white photograph of Henri & Hoki having a nice chat while Henry sits on his toilet, in the elaborately decorated, graffiti covered walls. A few small tears and pieces missing from this photograph, but all in all very nice. The book is printed on thick deckle edge paper, it contains Miller's paean in rose & paint to Hoki, written and painted during their courtship. This is the most elaborate production of the Loujon Press, beset by numerous mishaps, with the total limitation falling far short of the initial number of sets planned. The remaining copies are now quite R A R E ! This also contains the publisher's large size printed envelope posted to a bookseller, with adverts for this edition, and a letter, signed by the publisher Jon Webb as well as several prospectus showing the printing process, cover of the box, photos of the Webbs [Gypsy Lou & Jon] and a large folding [48 x 63 cm.] sheet showing highlights from the book, with photos of Henry, Hoki; verso with newspaper articles on Henry from the New York Times, and samples from Henry's manuscript text. Advertising the various editions & limitations & variations. Below are extracts from the trade edition dust jacket notes. "A new book by Henry Miller is a rare and important literary event. INSOMNIA differs from all his other works. It is a love story. Always a romantic at heart, Henry Miller fell passionately, completely, but not hopelessly, in love at age 75 with a 25 year old Japanese singer, Hoki Tokuda. Hoki spoke some English; Miller spoke no Japanese. Hoki was a featured singer in a piano bar in Hollywood. Henry was a semi-retired and divorced, a lonely literary giant. He purs- ued her for a year. Out of the frustration of sleepless nights, out of a clear vision of himself as an aging romant- ic, out of his compulsion to court and marry this "young nightingale," Miller has fashioned a deeply moving, reveal- ing romance." This is his most fascinating insight to his own heart and passion. Loaded with great art work, drawings, photos of Hoki & Henry, and color paintings by Henry. Color scans can be sent by e-mail. A L W A Y S R A R E ! Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        CHANOYU QUARTERLY: TEA AND THE ARTS OF JAPAN.

      Kyoto 1970-1999, Urasenke Foundation. Original stiff color. wrs.,ca. 18 x 25.5 cm.,very clean, lacks 13 issues:5-12, 36,. 55,73, 76, 81, from vol. 1 #1 through #88 the index, all in. original bindings, 75 issues, clean, some ex-library marks.. A LONG RUN OF THIS CELEBRATED JOURNAL THE RUN OF CHANOYU QUARTERLY: Originally edited by Henry Mittwer, then later by his charming daughter, Gretchen Mittwer until is end in 1999. . THE CONTENTS: This Zen journal of Japanese Tea Ceremony covers the green tea, ceramics, other tools & accessories of the ceremony, the tearoom, associated art objects, the appreciation & practice of the Japanese Tea Ceremony. Also covers various Japanese arts, ceramics, intellectual and stimulating essays, literature, history, and a wide number of fascinating subjects. * URASENKE FOUONDATION: The Urasenke Foundation is devoted to a large number of Japanese arts, aesthetics and cultural subjects mainly starting with the a Zen art, ceramics, Zen, flower arrangement, gardens, lacquer, poetry, painting, Noh drama, architecture & tea rooms, Japanese papermaking, calligraphy and far too many to list here. Suffice to say, that the CHANOYU QUARTERLY contains a myriad of essays on all things Japanese art and culture which relates to the appreciation of Japanese art forms. . Urasenke Konnichian of Kyoto, Japan is one of three major establishments that have preserved and furthered the rich cultural tradition known as Chanoyu, or the Way of Tea. Indeed, the first generation of Urasenke, Sen Rikyu (1522-1591), was a seminal figure in the transition of the Way of Tea from a medieval practice to its modern form. The principles of Chanoyu that Rikyu enumerated "wa" [peace], "kei" [respect], "sei" [purity], "jaku" [tranquility], have remained the foundation of this cultural form for over four hundred years. . The Urasenke Foundation was established in May of 1949, by the fourteenth generation master Tantansai. Thus began an unprecedented commitment to advancement of the Way of Tea, sparked by the realization that although the Way of Tea is a distinctly Japanese cultural form, its basis is a set of values and concepts that could be followed by anyone, regardless of nationality. . In 1964, Tantansai's son Hounsai Genshitsu succeeded to leadership of the Urasenke Tradition. His experiences as a student overseas and his friendships with many non-Japanese convinced him of the validity of his father's ideas. Under his guidance, the Urasenke Foundation has made great strides, especially in the international sponsorship of the Way of Tea. * THE JOURNAL: The journal has been the voice & illustrated picture of the organization and contains many fine articles by leading exponents of the arts, Tea & Zen masters, truly a calming and magnificent resource. . This work began in Spring 1970, the first 10 issues were bound in a different and colorful textile pattern. Then with 1971, they changed the covers to be buff stiff board of a single color, but the colors varied over the years, typically 4 issues or a year's worth in the same color. *** THE COMPLETE SET: Chanoyu Quarterly was issued in a total of 88 numbers, number was the last issue, and was a comprehensive index to the whole set. ***. TEA CEREMONY BOOKS: Please inquire with us for a current list of books on Japanese Chanoyu [teaism], some by one of the early editors of this journal, Henry Mittwer, and of course those by other tea masters. Gretchen Mittwer guided Chanoyu Quarterly for a long time in her father's footsteps. * This is a heavy set, extra appropriate postage applies. * Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        The New York Times Magazine, August (Aug) 2, 1970 - Cover Photos of Yukio Mishima in Samurai Poses

      The New York Times, New York 1970 - 56 pages. Features: Cover photo of Japanese Renaissance Man Yukio Mishima who took his life three months later; Dear Prince - a letter to Norodom (Prince) Sihanouk on the situation in his native Cambodia since he moved to Peking (Beijing) and US troops came and went; Photo-illustrated feature article on Yukio Mishima; How to Lose the Bermuda (Yacht) Race (from Newport, RI to the Onion Patch); Beautiful color fashion ads; Portrait of a Decade - what the census shows about the turbulent 60's; Fashion photos entitled 'Cop-out Clothes; Photos of Robert T. Snyders' home in Brooklyn; Bridge article; No-Cal Cola ad on back cover says "We Ain't Got No Sugar." Above-average external wear. Crossword completed in pencil. A worthy vintage copy of this rare Mishima memento. [Attributes: First Edition; Soft Cover]

      [Bookseller: RareNonFiction, IOBA]
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        Standart Luxusform Nr. 5. Standarts. Herausgeber Galerie Michael Werner.

      München. Verlag Jahn und Klüser. 1970. 30 x 21 cm. 150 unpaginierte Blatt. OHalbleinen (Karton mit Leinenstreifenrücken). Umschlag etwas angestaubt, Seiten papierbedingt wie meist etwas gedunkelt. Insgesamt sehr gutes Exemplar. Das Künstlerbuch mit einer Aufeinanderfolge von Zeichnungen, Zeichen und kryptischer Graffiti, in Blau gedruckt, erschien in einer Auflage von 1000 Exemplaren und einigen wenigen berarbeiteten Exemplaren. Hier ein überarbeitetes Exemplar, bezeichnet \"Luxusform Nr. 5\" mit 2 Zeichnungen in rotem Filzstift auf dem vorderen und hinteren Umschlag (Moby Dick, Meer und Waalfänger) sowie Textauszügen der englischen Fassung von Melvilles \"Moby Dick\", handschriftlich von Penck ebenfalls in rotem Filzstift über das gesamte Titelblatt und die letzte Seite verfasst. Auf Blatt 149 unten mittig unter dem gedruckten \"Standart\" handschriftlich signiert \"Ralf Winkler\". Jede überarbeitete Fassung ist ein Unikat! Ausgesprochen selten. [Nicht bei Michael Glasmeier; Die Bücher der Künstler]. Versand D: 2,00 EUR 20. Jahrhundert / 20th Century, Deutschland / Germany, Original-Zeichnung / Original Painting, Signierte Bücher / Signed Books, Künstlerbücher, Vorzugsausgaben

      [Bookseller: Antiquariat Querido - Kunst und Fotograf]
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        Fall.

      o. Angaben, Selbstvlg., 1970 8°, o. P. (24 Bl. m. 22 Abb.), Geh., Tadellos. EA dieses Künstlerbuchs. im Selbstverlag des Konzept- und Performancekünstlers Bas Jan Ader (1942 - 1975)erschienen. Die Abbildungen sind FiImstills aus den Kurzfilmen «Fall 1. Los Angeles» sowie «Fall 2. Amsterdam» und zeigen in elf Bildern Aders Stürze erstens von einem Hausdach und zweitens fahrradfahrend in eine Gracht. - In tadellosem. verlagsfrischem Zustand. Versand D: 20,00 EUR Photographie Kunst - Künstlerbücher

      [Bookseller: Antiquariat Peter Petrej]
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        The Kid from Soho (Original screenplay for an unproduced television pilot)

      Los Angeles: Sid and Marty Krofft Productions, Inc, 1970. Draft script for an unproduced television pilot. Perhaps the wildest association we have ever handled. At the dawn of the 1970s, maverick film director Sam Fuller was having trouble finding decent work, and apparently writing a pilot for the LSD-infused likes of Sid and Marty Krofft ("H.R. Pufnstuf," "Lidsville") was not beneath him. Those who embrace both Fuller and the Kroffts (as we all do here at Royal Books) can only imagine how wonderful such a series would have been. The first leaf describes the plot outline as follows: "A boy who grew up too soon meets a man who never grew up in the virgin West of 100 years ago. This is the story of the Kid from Soho, a tough 14-year-old Cockney, who finds himself riding with a legend--Pecos Bill." Also noted among the characters are Wild Bill Hickok and Doc Holliday, along with "seven beautiful international canaries who entertain in the Birdcage Saloon, [ranging] from 18 to 24 years of age." The canaries are an international bunch to say the least, hailing from Paris, Italy, China, Harlem, Spain, Sweden, and Atlanta. Orange studio wrappers, dated May 18, 1970, with story and screenplay both credited to Fuller. 106 leaves, mechanically reproduced. Pages and wrapper Near Fine, bound with two gold brads.

      [Bookseller: Royal Books, Inc.]
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        FLORA SR SRBIJE 1-10

      serbian languageKomplet OD 10 KNJIGA - FLORA SR SRBIJE Izdavac SANU Beograd god. izdavanja 1970 - 1986 odlicno ocuvane

      [Bookseller: Knjiga na dlanu]
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        Signed 1970 Will Barnet Woman Reading Serigraph

      1970 - "Woman Reading" by Will Barnet, Signed Serigraph printed in 1970 from an edition size of 300. The overall is size of the Serigraph is 40 x 30 inches. The condition of this piece has been graded as C: Several Signs of use and handling, some visible marks. Here is some supplemental information about the Serigraph: Printed on Rives paper by Fine Creations, Inc., New YorkCommissioned by Poster Originals, N.Y. Pencil signed and numbered. The image represents the artist's daughter reading a book. Signed in the middle of the print below the image. Barnet's artistic career was defined in that it, according to Doty, "has always gone beyond the limitations of modern art because his work affirms a faith in life." He has been the subject of over eighty solo exhibitions held at the Virginia Museum of Fine Arts, The Museum of American Art of the Pennsylvania Academy of Fine Arts, The National Academy of Design Museum, The National Museum of American Art, The Montclair Art Museum, The Boca Raton Museum of Art, and the Crystal Bridges Museum of Art. [Attributes: Signed Copy]

      [Bookseller: Rare Posters]
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        In Our Terribleness.

      Indianapolis & New York: The Bobbs-Merrill Company, Inc.,, 1970. (Some elements and meaning in black style). Oblong octavo. Original black cloth, silver lettered spine, black endpapers, all edges grey. With the dust jacket. With the "removable mirror", colour illustration on page 1, monochrome illustrations from photographs througout. Light creases to extremities of jacket, slight bump to top right corner. An excellent copy. First edition, first printing. Presentation copy from both the author and photographer, inscribed on the title page: "for Junius, Peace & Power [ankh symbol] Imamu" and "For Brother Junius, a Very Brilliant Brother, sifa ote mtu weusi! [a Swahili expression, meaning: 'all praise to the Black man'] Fundi". An important association copy: we believe "Junius" to be Junius Williams, a nationally recognised US attorney and Civil Rights champion, more recently author of Unfinished Agenda: Urban Politics in the Era of Black Power (2014). "In Our Terribleness praises African Americans for surviving oppression and remaining 'beautiful throughout.' The book is filled with pictures of common folk doing common things: riding the bus, walking down the street, standing on the corner. The accompanying prose assigns a sense of grandeur and divinity to the images as if to project common folks as gods and goddesses. The book even contained a removable mirror with the phrase 'In Our Terribleness' inscribed on it. The mirror was flexible so that one's image can be changed and altered. The reader could see his or her own 'terribleness'" (Scot Brown, Fighting for US: Maulana Karenga, the US Organization, and Black Cultural Nationalism, NYUP 2003, pp. 148-49). There is also an interesting and glowing appraisal of the book in the Winter 2013 issue of Aperture magazine.

      [Bookseller: Peter Harrington]
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        ENCYCLOPÉDIE DI DIDEROT E D'ALEMBERT. RECUEIL DE PLANCHES, SUR LES SCIENCES, LES ARTS LIBERAUX, ET LES ARTS MÉCHANIQUES, AVEC LEUR EXPLICATION. 18 vols.

      Franco Maria Ricci, Italy 1970 - 1970 - 1980. 18 volumes made of 12 volumes of prints and 6 volumes of text, each in its original cardboard slip cases and with glassine acetate covers. Luxurious reprint of the French original encyclopaedia printed in .Paris in 1751 - 1772. Beautiful collectable copy Limited edition of only 3000 copies. [Attributes: Hard Cover]

      [Bookseller: LLIBRERIA KEPOS-CANUDA]
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        Ford concept

      1970. Gouache on composition board. Signed, "Dom Pacitti" Striking controntation with an early 70's Ford grille This is a dramatic, confrontational drawing by Dom Pacitti of the type of hidden headlight grille popular in the early 70's. Though the idea of concealing headlights had been around since before World War II, it only became popular in the mid-60's at the same time intricate chrome grilles were catching on. Here against a dark brown background, the proposed Ford (XL?) swerves to avoid hitting the viewer (seated on a curb) showing its bright new bumper, grille and right front fender as well as a glimpse of the right side. The diagonal positioning allows the artist to maximize the dramatic display of beauty and agility.

      [Bookseller: Donald Heald Rare Books]
 42.   Check availability:     IOBABooks     Link/Print  


        The Oxford English Dictionary: Being a Corrected Re-Issue with an Introduction, Supplement, and Bibliography of a New English Dictionary on Historical Principles Founded Mainly on the Materials Collected by the Philological Society - 13 Vol.Set

      Oxford at the Clarendon Press/Oxford University Press, London 1970 - 13vol.set (12vols.&suppl.); HBs dk.grayblue w/gilt; fine condition w/clean,tight pgs. DJs beige w/dk.blue; some rub&soil; some w/chips&tears; corner-cut; suppl.w/taped chip repair. "This reissue of A New English Dictionary on Historical Principles as The Oxford English Dictionary in twelve volumes is a reprint of the original ten-volume work. An additional volume comprises a Supplement of new words and meanings, " Size: Folio - over 12" - 15" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Xochi's Bookstore & Gallery]
 43.   Check availability:     AbeBooks     Link/Print  


        Self Portrait: Photographs by Lee Friedlander (First Edition) [SIGNED]

      Haywire Press, New City, New York 1970 - First edition, first printing. SIgned by Friedlander. Soft cover. Photographically illustrated stiff wrappers; no dust jacket as issued. Photographs and text (untitled preface) by Friedlander. Designed by Friedlander and Marvin Israel. Unpaginated (88 pp.) with 42 plates plus the cover image (not reproduced inside the book), printed by the Meriden Gravure Company, Meriden, Connecticut, from duotone separations made by Richard Benson. 8-1/2 x 9-1/8 inches. Friedlander's Self-Portraits call attention to the complex, fractured and sometimes dissimulating interplay between various screens, shadows, reflections, lenses and the surfaces of the photographs themselves. Introducing this body of work, Friedlander wrote, "I might call myself an intruder." Following this, in Andrew Roth's Book of 101 Books Vince Aletti asserts, "Friedlander does seem to be lurking or barging into his own pictures -- a hovering, disembodied Everyman, at once here and gone. Like the ephemeral figures in nineteenth-century spirit photos, he appears as a shadow, a reflection, a pair of shoes, a barely discernible shape. Although there are a number of shots where Friedlander's head is clearly visible in a mirror or looms unmediated into the frame, none are conventional or in any sense flattering self-portraits.Mostly, however, he seems determined to remove himself from the frame -- to become not the subject of the picture but just another incidental bit of photographic phenomena, no more important that a shaft of sunlight or a shop window or a passing shadow." [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004) and in Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #3.]. As New (from Friedlander's personal archive). Friedlander's Self-Portraits call attention to the complex, fractured and sometimes dissimulating interplay between various screens, shadows, reflections, lenses and the surfaces of the photographs themselves. Introducing this body of work, Friedlander wrote, "I might call myself an intruder." Following this, in Andrew Roth's Book of 101 Books Vince Aletti asserts, "Friedlander does seem to be lurking or barging into his own pictures -- a hovering, disembodied Everyman, at once here and gone. Like the ephemeral figures in nineteenth-century spirit photos, he appears as a shadow, a reflection, a pair of shoes, a barely discernible shape. Although there are a number of shots where Friedlander's head is clearly visible in a mirror or looms unmediated into the frame, none are conventional or in any sense flattering self-portraits.Mostly, however, he seems determined to remove himself from the frame -- to become not the subject of the picture but just another incidental bit of photographic phenomena, no more important that a shaft of sunlight or a shop window or a passing shadow." Signed by Author. As New (from Friedlander's personal archive). [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Vincent Borrelli, Bookseller]
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        Bibliotheca Belgica. Bibliographie générale des Pays-Bas (complete set in 6 volumes).

      Bruxelles, Culture et Civilisation, 1964 - 1970. - 6 volumes. Original cloth, (leather look) hardcovers. viii,1024 pp., 1072 pp., 1182 pp., 932 pp., 910 p. & iv,492 pp.; 28.5x21.5 cm. With illustrations. - (sl. worn, cloth sl. dam. at hinges, small seminary library stamps/ tickets) Although very good set, see picture. 16000g [Attributes: Hard Cover]

      [Bookseller: Emile Kerssemakers]
 45.   Check availability:     ZVAB     Link/Print  


        The Blond Knight of Germany; A Biography of Erich Hartmann, Greatest Fighter Pilot of All Time [Signed]

      Published by Arthur Barker Ltd., 5 Winsley Street, London First Edition 1970. 1970. First edition hard back binding in publisher's original raspberry covers, gilt title and author lettering to the spine. 8vo. 9'' x 6''. Contains [xvi] 318 printed pages of text with monochrome photographs throughout. Appendix closes the book with Erich's 'Victory Credits Record'. Fine condition book in Fine condition dust wrapper, not price clipped 45s. Label attached to the title page SIGNED 'Erich Hartmann'. Erich flew 1,404 combat missions and participated in aerial combat on 825 separate occasions. He claimed, and was credited with, shooting down 352 Allied aircraft, 345 Soviet and 7 American, while serving with the Luftwaffe. During the course of his career, he was forced to crash-land his damaged fighter 14 times due to damage received from parts of enemy aircraft he had just shot down or mechanical failure. He was never shot down or forced to land due to enemy fire. Dust wrapper supplied in archive acetate film protection, it does not adhere to the book or to the dust wrapper. Member of the P.B.F.A. ISBN 213002175

      [Bookseller: Little Stour Books PBFA]
 46.   Check availability:     Biblio     Link/Print  

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