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

        The Collected Works

      Grove Press, 1970 A complete set (all 16 volumes) of the first printing of The Collected Works of Samuel Beckett, by Grove Press, SIGNED by Samuel Beckett. This is one of only 200 copies of the set, signed by Beckett in his masterpiece, Waiting for Godot. Near fine condition, with the spines less faded than usual. Comes with the original invoice from Bell, Book and Radmall in London, dated 1976.

      [Bookseller: Bookbid Rare Books]
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        MANIFESTO. Concerning: The pre-planned political murder of Bobby Seale...

      New York: Committee to Defend the New York Black Panther, [1970?]. Broadside, 14 x 8 1/2 inches. Text in double-column. Cleaver's manifesto against the execution of Bobby Seale during the 1970 New Haven Black Panther trials was printed in several forms, including an appearance on the first page of The Black Panther newspaper. This broadside printing is scarce. Two short tears at edges, a few soft creases, some light soiling.

      [Bookseller: Riverrun Books & Manuscripts]
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      Gallimard 1970 - - Gallimard, Paris 1970, 17,5x22,5cm, reliure de l'éditeur. - Edition originale pour laquelle il n'a pas été tiré de grands papiers. Reliure à la bradel de l'éditeur en plein cartonnage, exemplaire complet de son rhodoïd qui comporte une déchirure en tête du dos. Envoi autographe signé de Max Ernst à Geneviève et Gaétan (sic) Picon agrémenté d'un dessin représentant trois petits oiseaux. Ouvrage illustré de 120 reproductions d'oeuvres de Max Ernst. Agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition for which it was not taken from large papers. Binding to the bradel of the publisher in full cardboard, complete copy of its rhodoid that includes a tear in the head of the back. Autograph signed by Max Ernst to Geneviève and Gaétan (sic) Picon decorated with a drawing representing three small birds. Illustrated book of 120 reproductions of works by Max Ernst. Pleasant copy. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Paddington Takes The Air.

      Collins, London 1970 - First edition of the ninth title in Bond's classic Paddington series. Octavo, original cloth. Illustrated by Peggy Fortnum. Signed by the author on the half-title page, "With all good wishes Michael Bond." Fine in a near fine dust jacket with a few small closed tears. "Paddington is as irresistile as Peggy Fortnum's drawings of him that illustrate the book" (Christian Science Monitor). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        In the Night Kitchen.

      Harper and Row, 1970. six publisher's proof sheets. each sheet is finished in the soft manner of the finished book except for the fifth sheet, which has a shiny finish. the finished book has forty unnumbered pages. considering the first with the button as page one, the double page title page as numbers two and three, etc, and the last page, "And that's why..." as page forty. the first proof sheet [23-1/2" x 35-1/2"] has pages 2, 15, 14, 3 and upside down at the top pages 6, 10, 11, and 7. it is printed on one side only. the second sheet [23-1/2" x 35-1/2"] has pages 28, 37, 40, 20 and upside down pages 6, 10, 11, and 7. the back of the second sheet has pages 26, 39, 38, 27 and upsidedown, 30, 35, 34, and 31. sheet three [23-1/2" x 35-1/2"] has pages 18, 23, 24, 21 and upside down pages 20, 21, 22, and 19. sheet four [25" x 36"] has pages 16, 17, 14, 14 and on top [not upsidedown] 20, 21, 30, and 31. sheet [25" x 36"] five has the d.j. panels, page 40, page 1, the dedication, the front flap copy, and on top [not upside down] pages 36, 37, 18, and 19. sheet six [70-1/2" x 49"] has four rows of eight panels, pages 38, 3, 2, 29, 40, 1, 4, and 37. sheet six is printed in black and white only. the reverse of sheet six is the same as the front. [Hanrahan A75]. all sheets are in very good to nearly fine condition. they have been rolled and have minor wrinkling at the extremities. sheet two is a little browned in one patch at the rear.

      [Bookseller: Riverrun Books & Manuscripts]
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        Real estate opportunities

      s.e., (Los Angeles) 1970 - Libro d'artista con 25 fotografie in bianco e nero che raffigurano lotti di terreno in vendita nella contea di Los Angeles con l'indirizzo a didascalia . Quest'opera si colloca sulla scia della ricerca iniziata con il primo libro fotografico di Ruscha, esponente della PopArt americana, Twentysix Gasoline Stations (1963), che raccoglieva le fotografie delle stazioni di servizio sulla Route 66 tra Los Angeles e Oklahoma City. Prima e unica edizione limitata a 4000 esemplari Numero di tavole: 25 pp.(48) altezza 17 larghezza 14 Esemplare in buone condizioni. Lievi tracce di polvere ai piatti, senza velina di protezione. All'interno carte ben conservate

      [Bookseller: Di Mano in Mano Soc. Coop]
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        Encyclopédie Diderot et d'Alembert. 18 Volumes (complet)

      Franco Maria Ricci, Parma 1970 - 18 volumes in-folio reliure pleine basane d'éditeur, sous coffret.12 volumes de planches, 5 volumes de texte, et 1 volume de notes. Célèbre réédition de l'éditeur Franco Maria Ricci. Bel ensemble. A.Ph.

      [Bookseller: Librairie du Bacchanal]
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        Pedagogy of the Oppressed

      New York: Herder and Herder, 1970. First Edition. Hardcover. Like New. First American edition. 186 pp. White cloth with black lettering on spine. Near Fine with light foxing along top edge in Fine unclipped ($5.95) dust jacket with an unfaded spine panel. A very clean, neat copy. The first appearance in the English language of a modern classic of pedagogical theory.

      [Bookseller: Burnside Rare Books]
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        MOVING ON

      Simon & Schuster, NY 1970 - First edition, first prnt. Review Copy with the publisher's advance notice card laid-in. Inscribed by McMurtry in his earlier legible hand on the front free endpage. "For Ernie, in friendship & with all good wishes - Larry McMurty 6-8-71." Cloth spine ends lightly pshed; dustjacket with beginning toning on spine and minimal shelfwear at the spine ends. Tight, bright copy in Near Fine condition in a Near Fine dustjacket with an archival cover. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: REVERE BOOKS, abaa & ioba]
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      New York: Simon and Schuster, 1970. First edition. Fine in a fine dust jacket. (5903). Octavo, Hardcover. Excellent novel of time travel-to New York of the 1880's. "Excellent historical detail and a compelling plot make this the outstanding work of the [time travel] sub-genre." -Anatomy of Wonder (1995) 4-167. "'s a classic modern timeslip romance, detailed and moving...(the) author's best book." - Pringle (ed.)-The Ultimate Guide To Science Fiction.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Livre d'artiste by Yvon Taillandier

      [France : probably between 1970 and 1980]. A unique object created by Yvon Taillandier by overpainting the pages of a nineteenth century copy of the published score to the opera Lara by Louis-Aimé Maillart (1817-71), the volume measuring 275 x 200 mm, with 295 pages. Taillandier has painted 7 full-page and 34 double-page paintings within thefirst 81 pages of the musical score, some leaves paintedrecto only but most painted bothrecto and verso, to create a suite of works highly representative of the artist's distinctive absurdist style. The book is signed by Taillandier in pen in the first image. Taillandier's imaginary landscapes are populated by fantastic figures: multi-limbed, contorting, sphinx-like hybrids, by turns menacing and self-devouring, playful and humorous, or sexual and fetishistic. Tallandier once described himself as "a writer who paints", and language is indeed integral to all his painting. The artist's fascination with both the abstract nature of words - their layers of poetic meaning - and their concrete, glyphic quality, is evidenced by his repeated isolation and highlighting of individual words and phrases within the libretto of this musical score, transforming them, along with the musical notation, into part of the painting's dynamic. Yvon Taillandier - writer, critic, painter and sculptor - was born in Paris in 1926. His first solo exhibition was held in Lyon in 1942, but in 1950 he abandoned painting to concentrate on writing. He published numerous landmark studies on artists as diverse as Giotto, Rodin,Cézanne andMiró, and in 1949 was appointed secretary of the artistic circle theSalon de Mai, a position he held for the next five decades.Taillandier returned to drawing and painting in 1969, and through the 1970s began to develop his own pastiche stylewhich involved painting on various media. The present work probably dates from this period. Provenance: From the estate of Jacques Damase, publisher and art historian, and close friend of the artist.

      [Bookseller: Douglas Stewart Fine Books]
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        One Hundred Years of Solitude. Translated from the Spanish by Gregory Rabassa.

      New York: Harper & Row, 1970 - Octavo. Original green cloth, titles to spine gilt, publisher's device to front board gilt, green endpapers. With the dust jacket in the first state, with the exclamation mark at end of first paragraph on front flap. Spine slightly rolled, tips a little rubbed; an excellent copy in the superb jacket. First edition in English, first printing, first issue jacket (with the "!" on front flap). With an slip laid-in, inscribed by Márquez: "Gabito, '83". Gabito was Marquez's nickname, and it is appealing to have him sign so familiarly. One Hundred Years of Solitude was originally published in Argentina in 1967 under the title Cien Años de Soledad. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Fire Station

      Capricorn Press, Santa Barbara 1970 - First Printing. One of 100 hardcover copies printed. Bound in black boards with a paper spine label. Very scarce edition. Book is protected in a custom cut clear mylar cover. [Attributes: First Edition]

      [Bookseller: Cahill Rare Books]
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        Every Building on the Sunset Strip

      Edward Ruscha 1970 - First edition, second printing lacking the extra flap at the last fold. Signed by Ed Ruscha on the verso of the front cover. Very Good with light wear to wraps, crease to spine, narrow strips of offsetting to joints, light toning, in a Very Good silver Mylar-covered card slipcase with light rubbing and light wear. A stunning copy, signed by the author. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Burnside Rare Books]
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        Le Triangle Noir. -

      Gallimard 1970 -, Paris - 1 volume. In-12. 135 pp. Sous étui bordé. Reliure plein maroquin noir. Plats décorés en feuilles de bois. Dos lisse. Tête dorée. Couverture et dos conservés. Reliure signée J.P. MIGUET. Parfait état. EDITION ORIGINALE. Un des 50 exemplaires du tirage de tête sur papier vergé de Hollande. Exemplaire enrichi d'un envoi autographe signé de Malraux. [Attributes: Hard Cover]

      [Bookseller: Librairie KOEGUI]
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        Rinpa kaiga zenshu. 5 volume set.

      Tokyo : Nihon Keizai Shinbunsha 1970 - No. 798 of 1000. Five folio volumes. Illustrations (some color) ; 39 cm. English summaries with the title Paintings of Rinpa, text in Japanese. Hardcovers in original cases. Housed in accompanying cardboard boxes. Light wear to boxes. Fine bindings and covers. Clean, unmarked pages. Contents: [1]. Sotatsuha 1; [2]. Sotatsuha 2; [3]. Korinha 1; [4]. Korinha 2; [5] Hoitsuha. Rinpa artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and kimono textiles. The Subject matter and style were often borrowed from Heian period traditions of yamato-e, with elements from Muromachi ink paintings, Chinese Ming dynasty flower-and-bird paintings, as well as Momoyama-period Kan? school developments. The stereotypical standard painting in the Rinpa style involves simple natural subjects such as birds, plants and flowers, with the background filled in with gold leaf. Emphasis on refined design and technique became more pronounced as the Rinpa style developed.A fine and desirable set on the 17th century Sotatsu-Korin School of Japanese painting. This is an oversized or heavy book, that requires additional postage for international delivery outside the US. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
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      London: Faber and Faber., 1970. From the Life and Songs of the Crow. Octavo. Original black cloth, titles to spine gilt. With the dust jacket illustrated by Leonard Baskin. Boards slightly sprung with a little faint foxing, faint foxing to prelims and endmatter; a very good copy in the jacket with spine and margins of panels lightly browned, slight rubbing to extremities, a couple of faint marks to panels. First edition, first impression. Presentation copy, inscribed by the author on the front free endpaper, "To Mr and Mrs Francis, from your neighbour, greetings, Ted Hughes 8th Nov. 1970". Hughes had recently moved into Lumb Bank, an 18th century mill-owner's house near Hebden Bridge, West Yorkshire, with his second Carol Orchard. Contemporary presentation copies of this key Hughes collection are uncommon, with one other copy traced at auction.

      [Bookseller: Peter Harrington]
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        CROW - SIGNED by the Author

      Faber, 1970. Hardcover. Fine. A first edition, first printing published by Faber in 1970. A fine book (some off-setting to the endpapers) SIGNED by the Author without dedication to the from endpaper. In a fine unclipped wrapper (some off-setting of Hughes' signature to the front flap). Rare signed copy of the first printing.

      [Bookseller: John Atkinson Books]
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        Sammlung von 11 eigenh. Skizzen, Originalphotographien u. a.

      O. O., meist 1970er Jahre. - Zusammen 11 Bll. Verschiedene Formate. Im einzelnen sind vorhanden: 1) Eh. Glückwunschkarte mit Farbzeichnung (Filzstift). 2+3) Eh. Entwürfe bzw. Notizen. 4-8) Photographien von Brillenmodellen (meist mit Modellen). 9) Gedr. Entwurf zu einem Logo (?). 10) Photographie einer Schaltanlage im Modell. 11) Postkarte des "Camp Udo Proksch Myconos Greece".

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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      Philadelphia, New York: J.B. Lippincott, Company, 1970. First U.S. hardcover edition. Light glue stain to rear free endpaper, some spotting to covers, a very good copy in a nearly find dust jacket with two light blue vertical lines to verso with light show through, otherwise the jacket is quite bright with none of the commonly found fading of the spine panel. (15069). Octavo, boards. A Travis McGee mystery. The most difficult Lippincott title to locate with a superior jacket.

      [Bookseller: John W. Knott, Jr., Bookseller, ABAA/ILA]
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        Valéry face à ses idoles

      First edition of which there were no large paper copies.With an autograph inscription from Emil Michel Cioran.Tiny marginal foxings at head of upper cover. L'Herne Paris 1970 13,5x21cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Development of the Italian Schools of Painting. Complete 19 vol Set

      NY: Hacker Art Books, 1970. Complete in 19 volumes. Hard covers in original cloth. Published NY: Hacker Art Books, 1970, a republication of the 1923-38 edition. 8vo., 6 1/2" x 10", 581 + 627 + 678 + 534 + 517 + 155 + 438 + 507 + 623 + 605 + 671 + 474 + 515 + 541 + 651 + 565 + 548 + 605 + 321pp., profusely illustrated with plates. Blue cloth with gilt spine titles. V. 1. Western and Eastern early Christian art -- The Byzantine and the antique traditions during the VI, VII and VIII centuries -- Traces of Lombard and Carolingian influences and the decadence of the antique tradition during the IX and X centuries -- The Benedictine school during the XI century and the origin of Romanesque painting -- The Romanesque school in the XII and early XIII centuries -- Byzantine mosaics on the north coast of the Adriatic, in Rome, Sicily and elsewhere; Byzantine painting in Southern Italy -- Byzantine and Franciscan influences during the XIII century in Pisa, Lucca, Florence, Arezzo and Pistoia; the spread of the Franciscan crucifix -- The XIII century painters of Siena and Umbria including Fabriano -- The evolution of the Byzantine and Romanesque traditions in Rome during the XIIII century; Important monuments of this period at Parma and in South Italy -- Cimabue and his school -- The Byzantine style and the classic tradition in Rome at the end of the XIII century; Jacopo Torriti, Filippo Rusuti and the Cosmati; Cavallini and his school. -- v. 2. Duccio di Buoninsegna -- The School of Duccio -- Simone Martini and Donato -- The immediate followers of Simone Martini -- The Lorenzetti -- The minor masters of the later XIV century -- The minor masters of the end of the XIV century -- The Sienese miniaturists. -- v. 3. Giotto -- Giotto's assistants and immediate followers -- Taddeo Gaddi -- The Sienese influence in Florence -- Andrea Orcagua, his brothers and other followers -- The end of the Giottesque tradition -- Notes on Florentine miniatures. -- v. 4. Venice and the neighbouring regions -- The painters of Padua, Verona and Treviso -- Painting in Lombardy and Piedmont -- The painters of Rimini -- The painters of Modena -- The School of Bologna -- Painting in Ferrara and other little centers in Emilia. -- v. 5. Umbria -- Painting in The Marches -- Painting in Pisa, Lucca, Sardinia, Liguria and in small Tuscan centres -- Trecento painting in Naples and neighbouring regions -- Fourteenth century painting in Lazio, the Abruzzi, Apulia and Sicily. -- v. 6. Iconographical index to volumes I-V. -- v. 7. General considerations -- Lombardy, Piedmont and Emilia -- Tyrol and Verona -- Venice, Padua and Dalmatia. -- v. 8. Gentile da Fabriano -- Pisanello -- The Marches -- Umbria -- Lazio and the Abruzzi -- Southern Italy, Sicily and Sardinia. -- v. 9. Bicci di Lorenzo, Paolo di Stefano, Dello Delli, Rossello di Jacopo Franchi, Giovanni dal Ponte, Pseudo-Ambrogio di Baldese, the painters of Cassoni and some miniaturists -- The Florentine Camaldolese miniatures of about the year 1400, Lorenzo Monaco and his followers -- Masolino da Panicale -- Sassetta -- Giovanni di Paolo -- Sano di Pietro -- Domenico di Bartolo and Priama della Quercia -- Tuscan paintings of minor importance of the beginning of the 15th century. -- v. 10. The Classicalism of the Renaissance -- The blessed Frate Giovanni da Fiesole called Fra Angelico -- Zanobi Strozzi, Domenico di Michelino and some other followers of Beato Angelico -- Paolo Uccello -- Masaccio -- Domenico Veneziano -- Andrea del Castagno, his school and Giovanni di Francesco -- Fra Filippo Lippi -- Francesco Pesellino -- Neri di Bicci -- Cassone painters. -- v. 11. Piero della Francesca -- Benozzo Gozzoli -- Alessio Baldovinetti, Graffione and Finiguerra -- Antonio and Piero del Pollaiulo and their followers -- Andrea del Verrocchio -- Cosimo Rosselli, Zanobi Machiavelli, Giusto di Andrea and Fra Diamante. -- v. 12. Lorenzo il Magnifico, Botticelli and Savonarola -- Botticelli -- The school of Botticelli -- Filippino Lippi -- Jacopo del Sellaio -- Raffaellino del Garbo or dei Carli. -- v. 13. Domenico Ghirlandaio -- The school of Domenico Ghirlandaio -- Lorenzo di Credi -- Pier di Cosimo -- Francesco and Raffaello Botticini -- Pier Francesco Fiorentino -- Florentine miniatures of the last quarter of the fifteenth century. -- v. 14. The school of Ottaviano Nelli at Gubbio, the votive painters of the Val di Nera and other regions and the painters of Foligno and of Gualdo Tadino -- Benedetto Bonfigli, Cesare Caporali, the Panels of the Miracles of St. Bernardine of 1473, Fiorenzo di Lorenzo and their followers -- Pintoricchio -- Pietro Vannucci called Perugino -- The little masters of Umbria at the end of the fifteenth century and beginning of the sixteenth -- v. 15. Christoforo da Sanseverino and Angelo da Camerino, Boccati, Gerolamo di Giovanni, Francesco di Gentile, Giovanni Francesco da Rimini, Lorenzo di Alessandro -- The Marchigian painters influenced by Crivelli: Pietro Alamanno, Nicola di Maestro Antonio d'Ancona, Stefano Folchetti -- The German, Flemish and Emilian influences in the Marches: Antonio da Fabriano, Giovanni Santi, Bartolommeo di Maestro Gentile, the hypothetic Evangelista da Piandimeleto, Timoteo Viti -- The little masters of the Marches and the anonymous votive painters -- The painters of Abruzzi -- Antoniazzo Romano and his school -- The painters of Viterbo -- Painting in Naples and in the Campania -- Works of secondary importance in Sicily and the painters of Sardinia -- Antonello da Messina -- The school of Antonello da Messina: his anonymous followers, Jacobello d'Antonello, Antonello and Pietro da Saliba, Salvo d'Antonio and their followers -- Additional notes on painting in Laxio. -- v. 16. Luca Signorelli -- The painters of Arezzo: Lorentino d'Andrea, Bartolomeo della Gatta, Angelo di Lorentino and Domenico Pecori -- Minor Tuscan painters outside Cortona, Arezzo and Siena -- Lorenzo di Pietro, called Il Vecchietta -- Francesco di Giorgio Martini -- Neroccio di Bartolommeo Landi -- Matteo di Giovanni and Guidoccio Cozzarelli -- Benevenuto di Giovanni and Gerolamo di Benvenuto -- Andrea di Niccolo`, Pietro di Domenico Fungai and Pacchiarotto -- Lesser-known and minor painters and miniaturists. v. 17. Giovanni d'Alemagna and Antonio Vivarini, Quirizio da Murano and Antonio da Negroponte -- Jacopo Bellini -- Gentile Bellini and Mansueti -- Giovanni Bellini -- The workshop and pupils of Giovanni Bellini -- Cima da Conegliano -- Marco Basaiti. v. 18. Carlo and Vittorio Crivelli -- Bartolomeo and Alvise Vivarini -- Lazzaro Bastiani -- Vittore Carpaccio -- Vincenzo Catena -- The minor masters of the Belliniesque tradition: Diana, Mocetto, Marco Bello, Duia, Jacopo da Valenza, Vincenzo dalle Destre -- Different Venetian painters influenced by foreign schools; Jacopo de' Barbari, Antonio da Solario, Marco Marziale -- Minor painters, some mosaicists and "Madonneri" -- Venetian engravings, woodcuts and miniatures of the XV century. -- v. 19. General index. Mild dust spotting/foxing along top edges of some volumes, else a fine set, clean, bright, unworn, bindings straight and tight. . Hard. Near Fine/No Jacket, As Issued. 8vo.

      [Bookseller: The Wild Muse]
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      Jenkins 1970 - First edition. Red boards in pictorial dustwrapper. A near fine copy in a near fine dustwrapper, which is complete and unfaded, with a short closed tear to the upper cover and light wear to the top of the spine. Map endpapers. The second and most difficult of the Flashman novels to find in nice condition as the red of the spine is prone to fade. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jonkers Rare Books]
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        Signed Limited Edition Print from Alice's Adventures in Wonderland

      1970 - , Framed print from Alice's Adventures in Wonderland signed "For Kate, From Peter Blake" under the image. Limited Edition , frame has some wear, slight dampness to bottom of print, good condition , 26 cm x 21 cm Book SIGNED by the artist ISBN: [Attributes: Signed Copy]

      [Bookseller: Keoghs Books]
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        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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        People Standing About.

      Bolton: Penrose Fine Arts International, c. 1970s - Excellent condition. Presented in a limed ash frame with conservation mount and glass. Colour offset lithograph on wove paper. Image size: 32 x 50.3 cm. Sheet size: 48.3 x 61 cm. Edition of 500. Signed in pencil lower right by Lowry. Fine Art Trade Guild blindstamp to lower left. Reproduced from an original watercolour. [Attributes: Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Picasso le goût du bonheur.

      Bremen: Carl Schünemann, 1970. 4to, 27 x 35 cm. Text in German, copy number 255 from a limited edition of 1998 copies (666 each in German, French and English), reproductions of Picasso prints (mostly in color), loose and uncut as issued in tan linen folding box lettered in black. Picasso had 3 notebooks of drawings from 1964 reproduced in a new type of pochoir procedure invented by Günter Dietz, which he thought gave perfect full size facsimiles of his drawings. The 69 drawings in the book are often sold individually as works of art. Cramer, 148. From the collection of the late Picasso collector, Stanley Seeger.

      [Bookseller: Alan Wofsy Fine Arts]
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      New York: Random House, 1970. Gilt cloth. Fine in slipcase. First edition, limited issue. One of three hundred numbered copies, specially printed and bound, and signed by the author. POLK A16:1c.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Various Small Fires and Milk

      Los Angeles: Edward Ruscha, 1970. Second Edition. Softcover. Very Good. Second Edition. Near Fine with a scuff to the front corner near the crown, and foxing the top edge of page block. In glassine dust jacket, large chip at crown and smaller chip at foot of spine, edge wear to top, toning and several small scuffs. A nice copy.

      [Bookseller: Burnside Rare Books]
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        The Bluest Eye

      New York: Holt Rinehart & Winston, 1970. First edition of the author's first book. Octavo, original half cloth. Signed by Toni Morrison on the title page. From the library of Lynn Nesbit, who served as Toni Morrison's literary agent for a number of years. In 1965, Nesbit created the literary department for what later became International Creative Management. Near fine in a near fine first issue dust jacket with the $5.95 price and 1070 on the bottom of front flap, with a single closed tear. Dust jacket design by Herb Lubalin and Jay Tribich. A superior example with noted provenance. Set in Lorain, Ohio, in 1941, The Bluest Eye is something of an ensemble piece. The point of view is passed like a baton from one character to the next, with Morrison's own voice functioning as a kind of gold standard throughout. The focus, though, is on an 11-year-old black girl named Pecola Breedlove, whose entire family has been given a cosmetic cross to bear: You looked at them and wondered why they were so ugly; you looked closely and could not find the source. Then you realized that it came from conviction, their conviction. It was as though some mysterious all-knowing master had given each one a cloak of ugliness to wear, and they had each accepted it without question.... And they took the ugliness in their hands, threw it as a mantle over them, and went about the world with it. There are far uglier things in the world than, well, ugliness, and poor Pecola is subjected to most of them. She's spat upon, ridiculed, and ultimately raped and impregnated by her own father. No wonder she yearns to be the very opposite of what she is--yearns, in other words, to be a white child, possessed of the blondest hair and the bluest eye. "Toni Morrison's The Bluest Eye is an inquiry into the reasons why beauty gets wasted in this country. The beauty in this case is black. [Miss Morrison's prose is] so precise, so faithful to speech and so charged with pain and wonder that the novel becomes poetry...I have said 'poetry,' but The Bluest Eye is also history, sociology, folklore, nightmare and music" (John Leonard, The New York Times).

      [Bookseller: Raptis Rare Books]
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        Engravings for Jonathan's Swift's Gulliver's Travels

      [London:] by Harrison and Sons for H. M. Fletcher,, 1970. Printed from the Original Plates. 30 leaves, folio-size (355 x 255 mm), deckle edges, loose in contemporary green half morocco porfolio. Comprising initial blank, title, 2 text leaves, limitation leaf, and 25 engraved plates, of which 12 in original hand-colour, printed rectos only. Fine condition. First separate edition of Whistler's illustrations for the celebrated Cresset Press Gulliver's Travels, printed from the original plates. Number 8 of 100 sets, of which 74 were for sale. The Cresset Press edition was published in 1930.

      [Bookseller: Peter Harrington]
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        Lettre autographe signée adressée à son amie Carole Roussopoulos EDITION ORIGINALE

      s.l. [New York], 1970. Fine. s.l. [New York] s.d. [1970], 21x26,8cm, 2 pages et 1/2 sur 2 feuillets. - Signed autograph letter of 2.5 pages in -4 (72 lines of a small writing) on letterhead. Magnificent literary and historical missive on the revolt of May 1968. He thanks his friend Carole Roussopoulos (1945-2009) journalist and Swiss director for autograph dedication of the author her book. "... Of all those I know, it's the most badly written, but it's the most frank and fineest, and maybe it's also the smartest. " He had loved The Walls have Ears " ... since he reproduces in inscriptions the inscriptions whose warmth and eloquence - or poetry if you like - were communicated as much by calligraphy, The quality of the wall, the graphic material, the place, etc. - never however my hand on a fly, or inadvertently ... ". He gives his vision of the events of May 1968. If it took two or three days "... to enter the Bath of May, it is because I returned from a round the world, a solitary life And my second journey to the dead, the force-or the obviousness (or the reversal of the order of the words) upset me. "For a few days, from May 20 to 24, I believed in the existence of God: the system collapsed, and then, in the end, God does not exist. Has come to the point, Sauvageot, Cohn-Bendit, Duteil, and Geismar are quietly placing the points on the 1. Their kingdom is of this world, and for all, that is what they say in plain language, There was no miracle, not that everything was conceived by them, but that on the basis of necessary actions a necessary chain should continue, and that if it has been interrupted, it is not stopped ... " . Genet then comes to the dispute, which certainly exists in the teaching, but how many remain in the dispute after the university? "... The literary especially (except Pompidou) and who would perhaps be the first to accept the challenge, but the scientists, almost all go to Dassault, Matra, Rothschild, and then will carry the challenge in the laboratories of Radiocity, Du Creusot, Nickel of New Caledonia - or even Pierrelatte, but what UNEF does is pleasing Genet, who still blames Jacques Sauvageot and Alain Geismar before stopping, exhausted: "... I n Can not do more. I'm in New York and I've been with hyppies. Following a request to write a preface to the letters of Georges Jackson, a black prisoner who founded the African-American revolutionary movement Black Panthers, Genet had decided to leave for the United States to meet with them And take public position for them. Although he was banned in this country, he stayed there several months in 1970. - [FRENCH VERSION FOLLOWS] Lettre autographe signée de 2,5 pages in-4 ( 72 lignes d'une petite écriture) sur papier à lettre.   Magnifique missive littéraire et historique sur la révolution de Mai 1968. Il remercie son amie Carole Roussopoulos (1945-2009) journaliste et réalisatrice Suisse pour l'envoi de son livre. "... De tous ceux que je connais, c'est lui le plus mal écrit mais c'est le plus franc et le plus frais. C'est peut-être aussi le plus intelligent. Je veux dire le plus net...." Il avait aimé Les Murs ont des Oreilles " ....puisqu'il reproduit en caractères d'imprimerie des inscriptions dont la chaleur et l'éloquence - ou la poésie si tu veux- étaient communiquées autant par la calligraphie, les fautes d'orthographes, la qualité du mur, la matière graphique, l'endroit, etc.- jamais pourtant ma main sur une braguette, ou alors par inadvertance...". Il donne sa vision des événements de Mai 1968. S'il lui a fallu deux ou trois jours "...pour entrer dans le bain de Mai, c'est que je revenais d'un tour du monde, d'une vie solitaire et de mon deuxième voyage chez les morts. La force- ou l'évidence (ou inverse l'ordre des mots) m'ont bouleversé. La force - ou l'évidence (ou inverse l'ordre des mots) m'ont bouleversé. Pendant quelques jours, à peu près du 20 au 24 mai, j'ai cru à l'existence de Dieu : le système s'effondrait. Et puis, en fin de compte, Dieu n'existe pas. Pas encore. Ton livre est venu à point. Sauvageot, Cohn-Bendit, Duteil, Geismar mettent tranquillement les points sur les i. Leur royaume est de ce monde, et pour tous. Voilà ce qu'ils disent en clair. Ils disent aussi qu'il n'y eut pas de miracle. Non que tout fut conçu par eux, mais qu'à partir d'actions nécessaires, un enchaînement nécessaire devrait se poursuivre. Et que s'il a été interrompu, il n'est pas stoppé...". Genet en vient ensuite à la contestation, qui existe certes dans l'enseignement, mais combien restent dans la contestation après l'université ? "... Les littéraires surtout ( sauf Pompidou ) et qui seraient peut-être les premiers à accepter la contestation, mais les scientifiques, presque tous vont chez Dassault, Matra, Rothschild , et alors va porter la contestation dans les laboratoires de Radiocité, du Creusot, au Nickel de Nouvelle Calédonie - ou même à Pierrelatte. Il y a la recherche du CNRS, où il est possible de porter la contestation...[elle] est possible dans les Facultés de Médecine et dans celles de Droit. Va la mener dans les cliniques et les palais de justice. Sauvageot n'en parle pas. Il parle de liaisons des luttes étudiantes et ouvrières, il parle à peine des luttes paysannes... [et] des autres structures professionnelles..." Ce que propose l'UNEF plaît cependant à Genet qui fait encore des reproches à Jacques Sauvageot et à Alain Geismar avant de s'arrêter, épuisé: "...Je n'en peux plus. Je suis à New-York et j'ai été avec des hyppies. Je suis entré dans plusieurs de leurs [mot illisible] et j'y ai connu un vertige à rendre jaloux le fils de la pastoresse. Je t'envoie un journal qu'on vend là bas..." A la suite d'une demande qui lui avait été faite d'écrire une préface aux lettres de Georges Jackson, prisonnier noir fondateur du mouvement révolutionnaire afro-américain Black Panthers, Genet avait décidé de partir pour les Etats-Unis afin de rencontrer ces derniers et de prendre publiquement position pour eux. Bien qu'interdit dans ce pays, il y séjourna plusieurs mois en 1970.

      [Bookseller: Librairie Le Feu Follet]
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        Mr. Sammler's Planet

      New York: Viking Press, 1970. 1st Edition. Hardcover. Fine/near fine. 1st Edition. Hardcover. Signed on first free end paper. 1970 NBA winner. 1/8" closed tear heal of spine. Nice clean top stain. Beautiful copy!!

      [Bookseller: Lyons Fine Books]
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        La Roseraie. The Rose Garden

      Paris: 1970. Original color lithograph in 6 colors. 65 x 50 cm. paper size. 54.5 x 42 cm images size. 21.5 x 16.5 inches image size.. One of 130 signed and numbered impressions. on Arches. Passeron, no. 22. Framed.

      [Bookseller: Alan Wofsy Fine Arts]
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        Chien blanc EDITION ORIGINALE Tirage de tête

      Paris: Gallimard, 1970. Fine. Gallimard, Paris 1970, 14,5x21cm, broché. - First edition, one of 23 numbered copies on Holland paper. Beautiful and rare example. - [FRENCH VERSION FOLLOWS] Edition originale, un des 23 exemplaires numérotés sur Hollande tirage de tête. Très bel et rare exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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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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