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Displayed below are some selected recent viaLibri matches for books published in 1971

        Israel

      Funk & Wagnalls, 1971 The first edition, UJA Commemorative Edition, signed by Ben Gurion for Robert H. Winnerman, a prominent American businessman. Housed in a slipcase referencing the United Jewish Appeal. Near fine in a very good slipcase. Complete row of numbers to 1 on the copyright page.

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


        Figur mit Schlangenkopf.

      Farblithographie signiert und nummeriert 1971 - Ex. 69, Aufl. 100, 74 x 57,5 cm Lutze, 659 ** Photos auf Wunsch im JPG-Format erhältlich.**

      [Bookseller: Kunsthandlung Goyert]
 2.   Check availability:     ZVAB     Link/Print  


        Dada no bôken [L'aventure Dada] 1916-1922. Avec une intervention originale et un envoi de l'auteur.

      Tokyo, Bijutsu Shuppan-sha, 1971. - 20,5 x 15 cm, 210 p. + 32 pl. h.-t. Broché, couv. ill. à rabats, sous étui illustré éditeur, bien complet de la bande (portant un cachet S.P.). Edition originale en japonais établie par Jun Ebara. Bel exemplaire de S.P., enrichi d'un beau dessin gouaché en couleurs et d'un envoi a. s. de Georges Hugnet : "à mon honorable Orfeo [Tamburi] son ami honoré Georges." Couverture illustrée par Marcel Duchamp, à l'instar de l'édition française, reproduite sur l'étui. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: SOLSTICES RARE BOOKS]
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        I Will Fear No Evil

      Berkley 1971 - Signed by Robert A.Heinlein on the title page. Book in VG condition- semi cracked between promo page and title page, no doubt due to repeated openings to view signature. Otherwise unread. Cover has some creasing and shelf and edge wear. 1/4" x 1/2" chip on top of rear panel near outer edge. PO's address lable inside front cover. First paperback printing. Z2085. Size: 16mo - over 5¾" - 6¾" tall [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Jusara Book Shop IOBA]
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        Israel: A Personal History.

      New York: Funk and Wagnalls Inc, 1971. Signed limited first edition, number 1835 of 2000 copies. Signed beneath the photographic frontispiece by David Ben-Gurion. Thick quarto, original full dark blue morocco, watered silk endpapers, top edge gilt. Near fine in a near fine slipcase. David Ben-Gurion's life has been so completely identified with Jewish history that "Israel: A Personal History" amounts to an autobiography. With this book, Ben-Gurion joins the small company of great historical figures who have left for posterity a personal record of the events in which they were prime movers.

      [Bookseller: Raptis Rare Books]
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        Iceland, or Jer Falcon. From "The Birds of America" (Amsterdam Edition)

      Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours. The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram]. The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition. John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838. "The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured. The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices. Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work , 1993, Appendix I.

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


        MECHANISMUS DER BEDEUTUNG (WERK IM ENTSTEHEN: 1963-1971) - SIGNED PRESENTATION COPY TO SAM AND MAKO FRANCIS FROM THE ARTISTS WITH A DRAWING

      (ARAKAWA, SHUSAKU) (GINS, MADELINE). Arakawa, Shusaku & Madeline Gins. Foreword by Lawrence Alloway. MECHANISMUS DER BEDEUTUNG (WERK IM ENTSTEHEN: 1963-1971) - SIGNED PRESENTATION COPY TO SAM AND MAKO FRANCIS FROM THE ARTISTS WITH A DRAWING. Signed Association Copy from the Artists. Munchen, GERMANY: Verlag F. Bruckmann, Munchen, 1971. First Edition. Oblong Small 4to. Boards in Illustrated Jacket. Artists Monograph. Fine./Fine.. 126pp, 69 b&w and 14 color illustrations. Text in German. This is the austere 1971 hardbound monograph on the work of the noted Japanese Conceptual practitioner Shusaku Arakawa and his collaborator, Madeline Gins. A most handsome example additionally BEARING THE ELABORATE FULL PAGE INSCRIPTIONS "For Mako / and Sam / Francis / all my (heart drawing) / Arakawa" and "Dear Sam, Dear Mako, / All my O + X X?! + O / love love / Madeline" in blue ink on the front endpaper and half title page. we acquired this directly from the Estate of the late, great Sam Francis, whose discreet ink library stamp is on the inside rear board. PLEASE NOTE: Additional shipping costs are required for this item beyond our standard rates due to its value - we will inform you of the applicable amount at time of purchase. 3-7654-1439-5 Inventory Number: 025574

      [Bookseller: Arcana: Books on the Arts]
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        Neujahrsblatt der Gesellschaft auf der Chorherren. Stück 1,1779 bis 50, 1828

      Titelvariante: An die sittsame und lernensbegierige, zürcherische Jugend, auf das Neujahr XXXX, von der Gesellschaft der Herren Gelehrten auf der Chorherren. - Komplette Folge der ersten fünfzig Neujahrsblätter in einem Band. Durchwegs in einem guten und nahezu frischen Zustand. Breitrandiges Exemplar, Rundumrotschnitt, Einband minim berieben, kaum fleckig. Mit den insgesamt 52 lithographierten oder gestochenen Tafeln nach Kompositionen, zumeist Ansichten oder Porträts, von Usteri, Schellenberg, Lips und Esslinger. - Vgl. Verzeichnis von Heinrich Fries und Myrtha Peter, 1971, S. 15-20

      [Bookseller: Incunabula]
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        Day of the Jackal

      1971. First Edition . Signed. FORSYTH, Frederick. The Day of the Jackal. New York: Viking, (1971). Octavo, original half gray cloth, original dust jacket. $1500.First American edition of ForsythÂ’s acclaimed first novel, preceded the same year by the English edition, signed and dated 2013 by him on the title page.Winner of the Edgar Allan Poe Award for Best Novel, Forsyth's first thriller won immediate acclaim as ""a strikingly successful thrillerÂ… It makes such comparable books as The Manchurian Candidate and The Spy Who Came In From The Cold seem like Hardy Boy mysteries"" (New York Times). Drawing on events such as a 1962 assassination attempt on De Gaulle, made by Alain de Bougrenet de la Tocnaye, Forsyth returned from years as a war correspondent in Africa to write his novel ""in just 35 days, a feat he describes as something 'not quite so crazy when you think of twelve pages a day, times that by thirty-five and there you go, there's your novel"" (BBC). Basis for the popular 1973 film by director Fred Zinneman, starring Edward Fox. Preceded the same year by the English edition. Yaakov & Greenfieldt, 231. A fine signed copy.

      [Bookseller: Bauman Rare Books]
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        Goya

      1971. First Edition . GUDIOL, Jose. Goya. 1746-1828. Biography, Analytical Study and Catalogue of His Paintings. Translated from Spanish by Kenneth Lyons. New York: Tudor, (1971). Four volumes. Quarto, original red leatherette, original dust jackets, original acetate. Volume IV in original shipping carton. $1500.First edition in English of this analytical catalogue raisonné of the paintings of Goya, with 1295 color and black-and-white plates, including a number of details and close-ups, as well as many fine reproductions of drawings, engravings and lithographs in addition to the paintings.""In this book we present a descriptive catalogue of Goya's painting based on our own analysis and on all that we accept from previous researchÂ… Since it is impossible in our opinion to have a complete idea of Goya the painter without considering his drawings and engravings, we have also published a selection of drawings, engravings and lithographs, not with the intention of cataloguing them, but simply as a complement to the pictorial work. This 'tangential' presentation is essential if we are to form an idea of the painter's mentality and his reactions to life and to historical circumstances"" (page 12). José Gudiol (1904-1985) devoted his life to the study of Hispanic art; he organized the Spanish collection of the Frick Library in New York in 1931-32 and was the founding director of the Amatller Institute of Hispanic Art, in Barcelona. Volume I is the text volume, featuring a biography of the artist with an extensive essay on the ""general evolution of his work,"" an analytical catalogue of the paintings, concordances and an extensive bibliography. Volumes II-IV include the 1295 plates, many in color, including many close-up details of larger paintings. Volume II covers the years 1765-1788; Volume III, 1789-1805; and Volume IV, 1806-1828. Volumes II-IV each with ""Index of the Illustrations"" sheet laid in. Gudiol's original Spanish edition was published in 1970. Freitag 4658. Fine condition.

      [Bookseller: Bauman Rare Books]
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        Million Dollar Month.

      Frensham: The Sceptre Press,, 1971. Octavo. Publisher's royal purple morocco, titles to spine gilt, marbled endpapers. Original wrappers bound in. Spine just a little faded. An excellent copy. First edition, first impression. One of five advance copies specially bound by the publisher, from a limited edition of 155 numbered copies.

      [Bookseller: Peter Harrington]
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        El circulo de piedra

      15 litografie originali in bianco e nero e a colori, firmate, stampate su carta Filicarta, di Valerio Adami, Alexander Calder, Jorge Camacho, Augustin Càrdenas, César, Corneille, Errò, Asger Jorn, Piotr Kowalski, Wifredo Lam, Joan Mirò, Eduard Pignon, Paul Rebeyrolle, Antoni Tapies, Emilio Vedova (tutte le stampe sono state tirate da Upiglio tranne quelle di Calder e Mirò, stampate su torchio a mano dalla Arte-Adrien Maeght di Parigi, quella di Jorn da Clot, Bramsen e Georges di Parigi e quella di Vedova nel suo laboratorio di Venezia). Testo poetico di Franqui. Ogni cartella è accompagnata da un disco fuori commercio del concerto di Luigi Nono, ''Y entonces comprendido'' dai testi del poema, pubblicato da Ricordi di Milano / The complete set of fifteen lithographs in colours by Valerio Adami, Alexander Calder, Jorge Camacho, Augustin Càrdenas, César, Corneille, Errò, Asger Jorn, Piotr Kowalski, Wifredo Lam, Joan Mirò, Eduard Pignon, Paul Rebeyrolle, Antoni Tapies, Emilio Vedova and one vinyl record. Printed on wove paper, with title, text and justification, signed by the author in pencil on the justification. Published by Grafica Uno, Giorgio Upiglio, Milan, 1971, each print signed and numbered in pencil. The full sheets are loose in the original paper folder and red canvas-covered portfolio box. Folio (cm 55x45). pp.. . Ottimo (Fine). . Prima edizione di 100 + XXV es. numerati. . Carlos Franqui negli anni 50, con grandi sacrifici, riuscì a frequentare l'università. Aderì poi al Partito Comunista cubano e lavorò nella clandestinità organizzando manifestazioni e insurrezioni. E' stato direttore del periodico clandestino ''Revolucion'' e capo della sezione propaganda del comitato rivoluzionario. Dopo la vittoria della rivoluzione tuttavia, non partecipò al governo di Fidel Castro e l'anno dopo la morte di Ghevara (1967) ruppe i contatti con il regime di Castro e andò in esilio in Europa, ed in particolare in Italia dove è stato attivo come critico d'arte, scrittore e poeta. Il libro nacque con l'intento di raccogliere fondi per aiutare Franqui durante il suo esilio italiano.

      [Bookseller: Studio Bibliografico Marini]
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        LAVORO SALARIATO E CAPITALE

      EDITORI RIUNITI, 1971. ITALIANO 0,08 Vol. n. 14 della collana, traduzione di Palmiro Togliatti, presentazione di Vincenzo Vitello, pagine brunite ai bordi da fattore tempo, fioritura ai tagli, brossura editoriale leggermente ingiallita, con fioritura e con lievi segni di usura, numerazione a matita alla copertina anteriore USATO

      [Bookseller: Biblioteca di Babele]
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        The Vantage Point

      New York: Holt, Rinehart and Winston, 1971. First Edition. Hard Cover with Dust Jacket. Near Fine/Very Good+. Octavo. SIGNED BY LYNDON B. JOHNSON ON HIS BOOKPLATE (not autopen), on the half title. ALSO SIGNED BY BEN BARNES, LUCI JOHNSON NUGENT, PATRICK NUGENT, AND JAMES JARRELL PICKLE on ffep verso. Book is near fine, dust jacket is very good+ with cover edge wear and scuffs. x, 636 pp. Ben Barnes served as speaker of the Texas House of Representatives from 1965 to 1969 and the 36th Lieutenant Governor of Texas. Luci Johnson Nugent is LBJ's daughter. Her husband is Patrick Nugent. James Jarrell Pickle was a United States representative from the 10th congressional district of Texas fom 1963 to 1965.

      [Bookseller: Charles Parkhurst Rare Books, Inc. ]
 14.   Check availability:     ABAA     Link/Print  


        Great Cinereous Owl. From "The Birds of America" (Amsterdam Edition)

      Johnson Reprint Corporation and Theatrum Orbis Terrarum, Amsterdam and New York 1971 - Colour-printed lithograph, on fine hand-made paper. Excellent condition. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours. The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram]. The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition. John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838. "The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured. The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices. Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work , 1993, Appendix I.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Andy Warhol Films and Paintings.

      London: Studio Vista, & Dutton, New York,, 1971. Octavo. Original laminated printed wrappers, title in turquoise and white to front panel, title in black to white spine, no dust jacket issued. Light cracking to spine, some folding of corners; an excellent copy. First edition, first impression. Signed by Warhol in purple felt-tip pen on the title page.

      [Bookseller: Peter Harrington]
 16.   Check availability:     Biblio     Link/Print  


        Great Cinereous Owl. From "The Birds of America" (Amsterdam Edition)

      Amsterdam and New York: Johnson Reprint Corporation and Theatrum Orbis Terrarum, 1971. Colour-printed lithograph, on fine hand-made paper. Excellent condition. In October 1971, employing the most faithful printing method available, the best materials and the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John James Audubon's well-loved "Birds of America". The Curators of the Teyler's Museum in Haarlem, Holland made their copy of the original work available for use as a model. The Museum, founded in 1778, bought their copy through Audubon's son as part of the original subscription in 1839. After long deliberation, the extremely complex but highly accurate process of colour photo-lithography was chosen as the appropriate printing method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in up to eight different colours. The original Havell edition was published on hand-made rag paper and the publishers were determined that the paper of their edition should match the original. Unhappy with the commercially available papers, they turned to the traditional paper manufacturers G. Schut & Zonen (founded in 1625), who, using 100% unbleached cotton rags, were able to produce a wove paper of the highest quality, with each sheet bearing a watermark unique to the edition: G. Schut & Zonen [JR monogram] Audubon [OT monogram]. The publishers and their dedicated team completed their task late in 1972 and the results of these labours were affectionately known as the "Amsterdam Audubon." 250 copies were published and sold by subscription, with the plates available bound or unbound. Given all this careful preparation, it is not surprising that the prints have the look and feel of the original Havell edition. John James Audubon was born in Les Cayes, Haiti on 26 April 1785. From 1788 to 1803 he lived in France until he was sent to the United States to manage an estate that his father had bought in Pennsylvania. He returned to France in 1805, but his fascination with the United States had taken root and he returned again in May 1806. He married Lucy Bakewell in 1808 and together they embarked on a difficult period financially that was only to be resolved, through Audubon's unshakable and justified belief in his own abilities, with the publication of his masterpiece in 1827-1838. "The Birds of America" is the single greatest ornithological work ever produced and is the realization of Audubon's dream of traveling throughout the United States recording, natural size, every native bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London, depict some 1,065 different species, the majority drawn from specimens that Audubon himself had captured. The Havell edition was expensive at the time of publication and this has not changed. Possibly the last complete copy which will ever appear on the market sold for a staggering $8,802,500 in a sale in New York in March 2000. Currently, the increasingly rare individual plates from this edition, when they do appear, generally sell for between $5,000 and $175,000 depending on the image. The quality of the Amsterdam Audubon plates is apparent to any discerning collector and it is becoming ever clearer that they offer the most attractive alternative to the Havell edition plates, given the latter's spiraling prices. Cf. Zimmer, p. 22; cf. Bennett, p. 5; cf. Fries, Appendix A; cf. Wood, p. 208; cf. Nissen IVB 51; cf. Sabin 2364; cf. Ripley 13; cf. Tyler, Audubon's Great National Work , 1993, Appendix I.

      [Bookseller: Donald Heald Rare Books]
 17.   Check availability:     Biblio     Link/Print  


        40+1+3. Gioco delle carte Piacentine con libera interpretazione di 44 artisti

      Pari & Dispari Editori, 1971. 44 litografie originali a colori firmate e numerate a matita sul retro (cm 11x7) inserite in una cartella di panno verde (cm 70x50). Denari e Spade: R. Crippa, A. Bonalumi, S. Monachesi, L. Del Pezzo, G. Harloff, M. Merz, G. Niccolai, V. Agnetti, P. Gallina, F. Vaccari, R. Alberti, G. Falzoni, G. Desiato, C. Parmeggiani, F. Pardi, A. Spatola, B. Di Bello, M. Gastini, U. Mastroianni, W. Xerra, G. Baruchello, E. Mattiacci, P. Restany. Retro di G. Alviani. Coppe e Bastoni: G. Turcato, E. Tadini, M. Nannucci, C. Costa, E. Villa, A. Calderara, M. Mochetti, M. Mariotti, G. Rubino, E. Mariani, G. Dova, H. Chin, G. Marotta, R. Aricò, E. Vedova, E. Innocente, P. Echaurren, A. Cavaliere, C. Pozzati, N. Carrino. Fiches di G. Bizzarri. A cura di Rosanna Chiessi, Corrado Costa e Mario Ferrari. cm 70x50. pp.. . Ottimo (Fine). . Edizione originale di 150 es. numerati. . La casa editrice ParieDispari, fondata da Rosanna Chiessi nel 1971, entra subito in contatto con gli artisti concettuali e della body art italiani e i poeti visivi. Nel 1973 entra in contatto con il movimento Fluxus e l'Azionismo Viennese in collaborazione con Francesco Conz e Peppe Morra. In oltre 30 anni di attività ha prodotto non soltanto edizioni rare, ma anche mostre, eventi, installazioni e concerti.Da "In bicicletta sul mare. Tra arte e vita: una autobiografia" di Chiessi:"[...] nel '71 iniziai la mia attività di editore d'arte fondando Pari e Dispari. Fu il poeta Corrado Costa ad inventare il nome della mia casa editrice d'arte Pari e Dispari. La prima edizione che feci fu quella di un mazzo di carte da gioco coninvolgendo 44 artisti. In quella occasione Corrado Costa scrisse il testo che voglio ricordare qui di seguito. L'edizione, che presentai alla Biennale di Venezia nel 1972 ebbe tanto successo che la rivista Domus mi dedicò la copertina con uno scritto di Pierre Restany. Questo primo lavoro ha rappresentato per me sempre un simbolo, proprio perchè il primo e proprio perchè ebbe la fortuna di dare molto sclancio al mio lavoro".Uno scritto per le carte di Corrado Costa: "Fare la storia di questo mazzo di carte è un po' fare la storia di un viaggio attraverso l'Italia, alla ricerca di un Fante, un Cavallo, di una Regina ecc. Reggio Emilia, sabato sera, 1971, in un'osteria di campagna si gioca a carte, si mangia, si beve il litro intero e si parla e così nasce anche un'idea: le carte piacentine, quelle della briscola, saranno interpretate da 40 pittori...Comincia così la lunga impresa di Rosanna Chiessi che a cavallo di una geep rincorre, stana i vari Parmiggiani, Carrino, Marotta, Innocente ecc. per proporre la sua idea. Emilio Villa e Costa la aiutano ad allacciare i primi contatti. Riceve consensi quasi unanimi. Dopo circa un mese cominciano ad arrivare i primi bozzetti, dopo sei mesi le carte sono 20. Baruchello non si riesce a trovare, ma alla fine anche lui si trasforma in un 9 di spade, Echaurren si improvvisa intanto 7 di bastoni. Roberto Crippa disegna un'aquila volante, poco tempo dopo precipita dall'aereo. Fabro non manda nulla perchè non sa nemmeno giocare a carte, mentre con Melotti qualunque dialogo risulta impossibile se non paradossale. Milano, Roma, Venezia, Torino, Firenze, Bologna, Reggio Emilia. Arrivano i bozzetti di Cavaliere, Merz, Gallina. 7 di denari, 2 di coppe, fante di spade, ormai ci sono tutte, c'è pure il retro (pardon il verso) di Alviani e ci sono le fiches di Bizzarri. Adesso comincia l'ardua fatica della firma. E si riparte, come daccapo. Da Harloff, Restany, Gastini, Nannucci, Spatola, Mariotti, ecc. Giusto alla vigilia della Biennale di Venezia, tutto è pronto, tutto è firmato, non rimane ora che risedersi a tavolino e fare insieme una partita a 'carte'". Le carte sono piacentine, di Piacenza. Realizzate però da 44 realizzatori. Perchè 44? 44 perchè sono esattamente 40+1+3. +1 significa il dorso, ovverossia il rovescio della carta: rovescio sul quale non si possono fare segni, orecchi, tagli, orribili ditate. +3 che sono esattamente le carte che è possibile sostituire per ottenere un minimo di variazioni del mazzo.

      [Bookseller: Studio Bibliografico Marini]
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        The Brandywine River Museum Opening Show - Poster

      The Brandywine Museum, Chadds Ford 1971 - Approximately 26 x 40 inches image area. under glass and wood framed, overall size 27.5 x 42 inches. Printed in colours. This is the original poster for the exhibition of works by N. C. Wyeth, Andrew Wyeth, James Wyeth, Howard Pyle and "Students". Printed on the poster is "Opening show" and depicted is "Captain Bill Bones" by N. C. Wyeth.

      [Bookseller: Randall House Rare Books (ABAA)]
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        Retrospective Exhibition of the English Potter Bernard Leach

      

      [Bookseller: Maggs Bros. Ltd.]
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        Das Elend des Historizismus. Dritte verbesserte Auflage.

      Mohr Vlg., Tübingen 1971. - gr.8°, kartoniert, 132 Seiten, Reihentitel mit handschr. Widmung des Philosophen: "Für Fritz vom Karl Weihnachten 1971" tabakrüchig, fleckig, staubig, sonst gut [Attributes: Soft Cover]

      [Bookseller: Cassiodor Antiquariat]
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        Strette suivi de Méridien et d'Entretien dans la montagne

      First edition in French, one of 35 numbered copies on pur fil, the only large paper copies. A very fine copy. Mercure de France Paris 1971 15x22cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Typed letter signed

      1971. Signed. O'KEEFFE, Georgia. Typed letter signed. Abiquiu, New Mexico: No publisher, August 27, 1971. Original two leaves of onionskin carbons (each 8-1/2 by 11 inches) in typescript, signed, initialed on the rectos; three leaves of typescript in facsimile on the rectos. Together housed in a custom clamshell box. $3500.Typed letter signed by renowned artist Georgia OÂ’Keeffe to her sister, boldly signed by OÂ’Keeffe on the second page, with her initials, “G OÂ’K” on the first page of the two carbon leaves, writing her sister about “my paintings owned by youÂ… and my paintings lent to you by me,” as well as her wishes for certain paintings designated for the National Gallery of Art, the Metropolitan Museum of Art and other major museums, housed in a beautiful custom clamshell box.""Georgia O'Keeffe was a key figure in the American 20th centuryÂ… as a strong and individual colorist and as the lyric poet of her beloved New Mexico landscape, she left her mark on the history of American artÂ… O'Keeffe's career, Hilton Kramer wrote, ''is unlike almost any other in the history of modern art in America.'' It embraced virtually the whole history of modern art"" (New York Times). This August 27, 1971 letter speaks to the artistic legacy of Georgia O'Keeffe, as well as her close relationship with her sister, Anita, wife of Robert R. Young. ""Georgia remarked late in her own artistic career that Anita would have painted circles around her if she hadn't been afraid to free her own imagination on paper"" (Reilly, Georgia O'Keeffe, 321), and in March 1984 Georgia was visiting her sister in Florida when she suffered a coronary and was flown back to New Mexico, only two years before her death at age 98. The subject of this letter is, as she writes in part, ""conversations between us regarding my paintings owned by youÂ… and my paintings lent to you by me,"" as well as her desire for select paintings ""to go to the institutions designated"" by her. At times, in earlier wills, ""O'Keeffe had named family members as legateesÂ… During the 1970s, however, the wills she had made directed more property to the public than to family, and in the 1979 will, no family members at all were named as heirsÂ… The change in her property planning had little bearing on Georgia's family relationships. These were still strong and affectionate"" (Robinson, Georgia O'Keeffe, 542). Upon her own death in 1985, ""Anita willed all ten of her Georgia O'Keeffe paintings to the Robert R. Young Foundation,"" which had been established to honor her husband (Reilly, 323).The text of the letter reads: ""Abiquiu, New Mexico 87510, August 27, 1971. Mrs. Robert R. Young, FAIRHOLME [upper case in original] Ochre Point, Newport, Rhode Island 06840. Dear Anita: This will confirm conversations between us regarding my paintings owned by you (see List A) and my paintings lent to you by me (see Lists B and C). As to those paintings owned by you (see List A), you agree upon your death by your last will and testament or other undertaking to cause these paintings to go to the institutions designated on List A. I would like you to make it a condition of such a gift that these institutions may not lend these paintings, except for once in twenty years. Such a loan could only be for a major retrospective exhibition of my work held by a museum, or an equivalent exhibition of the Stieglitz Collection, or for some unforeseen situation of special importance which may come up. I would also like you to ask that the O'Keeffe frame which I have designed (silver or metal) be kept on these paintings, unless the institution wishes to show them without any frame at all. Such agreement on your part so as to dispose of these paintings in no way restricts your right to sell them during your lifetime in case you are in personal need. Should you need to sell any of these paintings, however, you will give me or my legal representative the right to purchase the painting or paintings to be disposed of at the prices you paid for them. As to those paintings loaned by me to you, all o which are set forth on Lists B and C, receipt of which by you is acknowledged, we have agreed between us that you may retain these paintings during your lifetime, even though I may predec[letter ""l' inked over]ease you, unless the provisions in my will concerning this do not hold. At any time during your lifetime I or my legal representative may request in writing the return of two paintings per year of the paintings on Lists B and C, and you will undertake to return them to me at your expense. If, at any time during your lifetime you desire to return all or part of the paintings to me, you may do so by notifying me or my legal representative in writing, and sending them at your expense by my packer to a destination designated in writing by me. Should you be severely incapacitated so that you cannot enjoy the paintings, it is our understanding that those on List A should be placed on loan at the designated [word crossed out in typescript] institutions after consultation with me or my legal representative, and that those on Lists B and C be returned to me. It is agreed that you will take all possible precautions to care for the paintings on Lists B and C as if they were your own, and that you will keep the paintings on all three lists in one of your three residences (900 Fifth Avenue, New York; 548 North County Road, Palm Beach, Florida; or Ochre Point, Newport, Rhode Island) except when in transit from one residence to another. It is further agreed that should any of the paintings on Lists A, B, and C need a conservator's care for their preservation, that this may only be done in consultation with me or my representative, using the person who takes care such problems for me in my own work. Work to be done on List A would be paid for by you, work on Lists B and C would be paid for by me, unless damage is due to your negligence. Should any of the paintings on List A be lost, stolen, or damaged, your obligations as designated above for List A are of no force. It is understood that the foregoing constitutes our entire understanding and that neither you nor I have any obligations one to the other, except those set forth above. If you agree with the foregoing, please sign and initial both pages of the carbon copy of this letter and return it to me as soon as possible. Very truly yours, [signed] Georgia O'Keeffe [typescript] Georgia O'Keeffe. [lower left of page two in typescript] Read and agreed to by me this [blank space] day of September, 1971 [space for signature left blank] [typescript] Anita O'K Young."" In addition to her signature on page two, O'Keeffe signed page one, ""G O'K."" Accompanying the carbons of O'Keeffe's two-page letter are photocopies of Lists A, B, And C, dated June 2, 1971, detailing the paintings owned by and lent to her sister, including those titled, ""Jimson Weed,"" ""Winter Cottonwoods East V,"" ""Calla Lilies on Red,"" ""Abstraction—White Rose III,"" and ""Red Hills and White Flower."" Next to each listed work is the corresponding insurance value, year, media, dimensions (in some cases), and the intended public institutions, including the National Gallery of Art, Boston's Museum of Fine Arts, the Cleveland Museum of Art, the Metropolitan Museum of Art, and the Philadelphia Museum of Art. Neither carbon is signed or initialed by Anita. Minimal traces of tape to versos, tiny pinholes from staple removal to upper corners not affecting text or signatures.Signatures bold and dark. Fine condition.

      [Bookseller: Bauman Rare Books]
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        Les chênes qu'on abat...

      First edition, one of 80 numbered copies on Hollande paper, the tirage de tête.Tiny insignificant wormholes to spine, a good copy. Gallimard Paris 1971 12,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Le nu perdu

      1971. Gallimard, Paris 1971, 14x20,5cm, broché. - Gallimard, Paris 1971, 14x20,5cm, broché. - Collective Edition, una delle copie numerate bouffant alfa. autografo preziosa firmata e datata di René Char Roland Barthes: "... sempre presente ..." Nizza copia. [FRENCH VERSION FOLLOWS] Edition originale collective, un des exemplaires numérotés sur bouffant alfa. Précieux envoi autographe daté et signé de René Char à Roland Barthes : "... toujours au présent..." Agréable exemplaire.  

      [Bookseller: Librairie Le Feu Follet]
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        Teorie sul plusvalore Libro quarto del "Capitale"

      Editori Riuniti - Roma, 1971. ITALIANO 0,88 Buono stato, sovraccoperta originale iin carta patinata, progetto grafico di Bruno Munari, tracce di fioritura sparsa, cifra scritta con pennarello su recto, bordo sfregato; coperta in simil pelle, caratteri dorati in bassorilievo su piatto anteriore e dorso, tagli poco bruniti, pagine in ottimo stato. Traduzione e prefazione di Giorgio Giorgetti. XXIV volume della collana Biblioteca del pensiero moderno. II edizione. Solo I volume USATO

      [Bookseller: Biblioteca di Babele]
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        Andy Warhol's Trash. Prospectus de présentation avec le synopsis accompagné des douze affichettes publicitaires du film Trash (1970) pour la promotion de la version allemande réalisée par Constantin Films (Münich) en 1971.

      München, Constantin films, 1971. - En ff. Excellent état. Edition originale, série complète, en parfait état. Un an après sa sortie aux Etats-Unis en 1970, le film Trash de Paul Morrissey produit par Andy Warhol est doublé et diffusé en Allemagne par Constantin Films. Il fait partie de la trilogie qui comprend également Flesh (1968) et Heat (1972). Warhol, Morrissey,Joe Dallessandro, Jane Forth, F. Hughes, J. Johnson rejoints par Bob Colacello effectuent une tournée de promotion du film en Allemagne du 17 au 23 février 1971, en avant-première à Münich, puis à Francfort, Berlin, Darmstadt, Cologne. Réf. bibliographiques : Colacello, King Andy's german conquest, The Village Voice, 1971. [Attributes: First Edition]

      [Bookseller: SOLSTICES RARE BOOKS]
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        Portrait of Paul and Linda McCartney

      OFFERING: The unsigned Kodachrome II print given by Paul McCartney to Vincent Romeo, (his personal manager with McCartney Productions Ltd), one of a few developed expressly for Paul and Linda McCartney for private circulation. Purchased at the first memorabilia auction of Vincent Romeo's collection, the print has never been framed and is sleeved loose, as issued in the original Kodak color enlargement folder. No other example of the rare 276 x 353 mm (10.87 x 13.9 inches) print is known to have been offered for sale. Taken at the Malibu photo shoot that produced the iconic April 16, 1971 LIFE magazine cover, the print is a different and far more interesting photograph. As evidenced by the smaller grouping of yellow flowers in the background, the shot was taken closer in with a wider aperture. Because of its extraordinary intimacy, it was reserved for Paul and Linda and developed from the transparency by Kodak Lab about three months later, using the K-12 Development Process. Kodak's stamped seal on the rear of the print states, "A color print made by Kodak, July 71R."With its moving contrasts of emotional openness and reticence and exquisite balance of color, light, and shadow, it communicates Paul and Linda's love in a way never surpassed. THE DAY SHOOT: was held to promote the image of the post-Beatles Paul McCartney. The April 16, 1971 issue of LIFE magazine featured a famous interview with Paul, his first since the breakup of the Beatles. Publicity was coordinated with the May 1971 release of Paul McCartney's music recording, RAM, with contributions by Linda McCartney. The recording of RAM had been finished in March and Paul and Linda were working together on the illustrated RAM songbook at a house rented in Malibu, California for the family, including their two girls, Heather (by Linda's first marriage) and Mary (b. 1969, their first child together). Linda was three months pregnant with Stella. Henry Diltz, had met Linda (then Linda Eastman) in the summer of 1966 at the Modern Age Photo Lab in New York and she felt Paul would be comfortable with him.It was decided to invite Henry to shoot the session at the Malibu house, knowing he didn't develop his own work. The afternoon shots were taken with a Pentax SLR 35mm camera by the garden near the pool. Paul was engrossed with his marriage and family with Linda and determined to integrate her into his musical life. The published LIFE interview with Richard Merryman closes with Paul's comment on family, farm, and the new energy he has discovered; "We've got to get back to plant the seeds. Nature doesn't wait." CONDITION: Near Very Good. Print: top tips with light wear, top outer corner with two tiny scratches, edges with light bend that won't be seen when mounted and framed. Scrutinized close-up in bright light, a slight dulling of Paul's hair can be seen on the left side, likely from cleaning: there is no other color deterioration. Rear of Print: a finger smudge and small black bar, marks not visible viewing the print. / Kodak Folder: some handling wear and a few bubbles, a small stain at the top edge and light soiling, upper side with auction number in pencil. VINCENT ROMEO: Before becoming personal manager for Paul McCartney at MPL, he was a leading agent with CMA and represented Cat Stevens and Grand Funk Railroad. Recommended to Paul and Linda by Lee V. Eastman, Linda's father, a prominent New York entertainment lawyer, who had been retained as counsel by Grand Funk Railroad, he left CMA for MPL. After, he became vice president of artist development for CBS International Records. HENRY DILTZ: A leading rock photographer of the 60's-70's California rock music scene and the official photographer of Woodstock and the Monterey Pop Festival, he would also be flown to the Virgin Islands by Paul and Linda McCartney in 1977 to take photos for a remembrance book while Wings was finishing tracks for "London Town". Photographs for more than 250 album sleeves are credited to him, including the first album of Crosby, Stills & Nash, the Doors' "Morrison Hotel", James Taylor's "Sweet Baby James", Jackson Browne's eponymous debut, and the Eagles' "Desperado". A documentary, "Under the Covers" discusses his album cover collaborations with Gary Burden. The comprehensive book on his work is "Henry Diltz: Rock On: The Photographs" with foreword by Graham Nash.

      [Bookseller: Steven Waldman]
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        Sigill. Bl

      Hamburg, Otto Rohse Presse, 1971 bis 1999. Folge 1, Heft 3 (1971), Folge 2, Hefte 2 und 3 (1972), Folge 3, Heft 1 (1972), Folge 4, Hefte 1, 2, 3 und 4 (1974/75), Werkverzeichnis der Holzstiche, Folge 5, Heft 1 (1975), Heft 2 (1976), Heft 3 (1977), Folge 6, Hefte 1, 2 und 3 (1977/78), Folge 7, Hefte 1, 2, 3 und 4 (1979/80/82/83), Folge 8, Hefte 1, 2 und 3 (1983/84/85), Folge 9, Hefte 1, 2 und 3 (1986/87), Folge 10, Hefte 1, 2, 3 und 4 (1988, 89/90), Folge 11, Hefte 1, 2, 3 und 4 (1993)94), Folge 12, Hefte 1, 2, 3 und 4/5 (1995/97), Folge 13, Heft 1 (1999). jedes Heft zwischen ca. 35 und ca. 120 S. 4

      [Bookseller: Antiquariat Galerie Joy]
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        Upstate: Records and Recollections of Northern New York

      New York: Farrar, Straus and Giroux 1971 - Small 8vo., blue cloth lettered in gilt; pictorial dust jacket. First edition, inscribed by Wilson to Henry Thornton, the critic's stepson: "To Henry and Daphne from Edmund." A wonderful family presentation copy. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: North Star Rare Books & Manuscripts]
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        Die rote Rakete am Nanga Parbat : Drehbuch zu einem Film, der nie gezeigt werden kann.

      M

      [Bookseller: Druckwaren Antiquariat GbR]
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        U.S. Foreign Policy for the 1970's

      1971. First Edition . Signed. NIXON, Richard. U.S. Foreign Policy for the 1970's: Building for Peace. Washington, D.C.: The White House, February 25, 1971. Octavo, original printed paper wrappers, staple-bound as issued; pp. [240]. WITH: Typed letter initialed. Washington, D.C.: The White House, March 17, 1971. Two pages of White House stationery (7 by 10-1/2 inches), typing on rectos only. Housed in custom chemise and half morocco slipcase. $3000.First edition of President Nixon's foreign policy review for 1971, with typed letter signed by him with his initials to his long-time supporter James S. Copley, prominent California newspaper publisher and collector.In his second annual review of the United States' foreign policy, Nixon outlines challenges to and opportunities for global peace, articulating and interpreting the Nixon Doctrine throughout as a guiding, flexible philosophy intended ""to place America's international commitments on a sustainable, long-term basis, to encourage local and regional initiatives, to foster national independence and self-sufficiency, and by so doing to strengthen the total fabric of peace"" (page 10). Specific topics include relation with the Soviet Union, the threat of nuclear weapons, movement toward European unity, ongoing war in Vietnam, the Arab-Israeli conflict, political and economic development in Africa, emerging terrorist threats, environmental protection and the role of the United Nations. Also published for the general public in a trade edition by Harper & Row. See Beisner & Hanson, American Foreign Relations Since 1600 24:14. Chemise with decorative bookplate of prominent journalist, newspaper publisher, philanthropist and collector James Strohm Copley, to whom Nixon's typed initialed letter is addressed. A conservative Republican, Copley was publisher of the San Diego Union, the San Diego Union-Tribune and the San Diego Evening Tribune from 1947 until his death in 1973. He was Chairman of the Board of The Copley Press, a newspaper chain comprising 15 daily and 32 weekly publications. His ""astonishing collection"" of some 2000 items focused largely on manuscripts and letters, creating ""a documentary survey of the American past"" (New York Times).Slightest soiling to wrappers. Fine condition with distinguished provenance.

      [Bookseller: Bauman Rare Books]
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        Einzeldrucke vor 1800 / Redaktion, Karlheinz Schlager. In 11 volumes

      Kassel ; Basel ; Tours : Ba?renreiter, 1971-2003. First Edition. Near fine copy in the original title-blocked pictorial cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight, bright, clean and strong. Series; Internationales Quellenlexikon der Musik. A =Re?pertoire international des sources musicales. A =International inventory of musical sources. A ; I. Physical description; 11 volumes ; 25 cm. Contents; Bd. 1. Aarts-Byrd -- Bd. 2. Cabezo?n-Eyre -- Bd. 3. Faa-Gyrowetz -- Bd. 4. Haack-Justinus -- Bd. 5. Kaa-Monsigny -- Bd. 6. Montalbano-Pleyel -- Bd. 7. Plowden-Schreyer -- Bd. 8. Schrijver-Uttini -- Bd. 9. Vacchelli-Zwingmann -- Bd. 11. Addenda et corrigenda A-F -- Bd. Notes; Holdings: 1- (1971-). A catalog of printed music published between about 1500 and 1800, limited to music prints containing the works of a single composer (as opposed to collections containing works by a number of different composers, which are covered in the International inventory of musical sources, Series B). Vols. 8-9 edited by Otto E. Albrecht and Karl-heinz Schlager; vols. 11. Subjects; Music - Bibliography. Music - Catalogs. Music publishing - Catalogs. Music - Bibliography - Bibliography. Genre; Bibliography.

      [Bookseller: MW Books Ltd.]
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        Huis-clos : 2 poèmes

      Paris: Arlette Albert-Birot, 1971. Livre. Très bon. Couverture souple. Ed. originale. Sl [Paris], sn [Arlette Albert-Birot], sd [1971]. 24 x 18 cm, une feuille de papier gaufré bleu, pliée en deux, portant au premier plat une pièce de titre contrecollée, et à l'intérieur, deux feuilles de papier vergé imprimées et contrecollées en pages (2) et (3). Edition originale rare, publiée par la veuve du poète. Bel exemplaire..

      [Bookseller: Des livres autour (Julien Mannoni)]
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        Crow Wakes

      Woodford Green, Essex: printed by Alan Tarling for Poet & Printer,, 1971. Twelve Poems. Small octavo. Original vellum-backed patterned boards, titles to spine and front in black. Fine. First edition, first printing, one of the scarce 100 copies retained by the poet, which seldom come to market, this copy signed and numbered by Hughes not once but twice. The title page verso is signed "No 26 Ted Hughes" the front free endpaper is signed and numbered "Ted Hughes 44/88". The printer Alan Tarling informed the bibliographers Sagar and Tabor that "These poems were excluded for personal reasons from [Hughes's] Crow opus...There were 200, a hundred each going to poet and printer plus 30 review or academic copies. None of mine was signed and each cost £2.25, though I gave some to friends and relatives. All the 'academic' copies were gratis, and said as much in an extra colophon . . . I don't know how TH's copies were distributed or whether or not they were signed." Hughes in fact numbered and signed all his copies on the title page verso from one to 100, but later apparently forgot that he had done this and signed what were presumably his remaining copies from one to 88 on the front endpapers.

      [Bookseller: Peter Harrington]
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        Fear and Loathing in Las Vegas

      first edition. NY, Random House, 1971, first edition, dust jacket. Hardcover. His second book, "A Savage Journey to the Heart of the American Dream, illustrated by Ralph Steadman, this copy with an HST bookplate affixed to the front free endpaper, film source. Front text block with two stains, page 3 and preceding page with stain droplets, else fine.

      [Bookseller: James M. Dourgarian, Bookman]
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        Israel: A Personal History

      New York and Tel Aviv: Funk & Wagnalls and Sabra Books, 1971. First edition, limited issue, number 58 of 2000 copies signed by Ben-Gurion underneath his portrait frontispiece. Pale spotting to slipcase and sheet edges, generally fine. Thick 8vo. 862pp. Black-and-white plates. Original blue leather, gilt-lettered and -decorated on front cover and spine, top edges gilt; original cloth slipcase. The monumental history of Israel by its first Prime Minister, and its primary founder. Ben-Gurion was named one of Time Magazine's 100 Most Important People of the Twentieth Century.

      [Bookseller: Riverrun Books & Manuscripts]
 37.   Check availability:     Biblio     Link/Print  


        [LGBT Poster]: Nocturnal Dream Shows Presents Midnight Movies etc. at Columbus and Powell at the Fantastic Palace Theatre of San Francisco, June [...] 1971 / Dirty Movie Nite [June] 4 & 5 / Tricia's Wedding & The Cockettes [June] 11 & 12 / Black Magic [June] 18 & 19 / Mad Woman of Chaillot [June] 25 & 26

      San Francisco, 1971. Very good antiquarian condition. Uncut oblong sheet 905 x 360 mm (34" by 8.5") printed in black on tan stock, designed to be cut into 5 flyers. Tiny nicks to edges. Original poster designed by the famed 70s artist Todd Trexler for the June schedule of events by the Nocturnal Dream shows, all at the Palace Theatre, home of the performance troupe the Cockettes. Events include a showing of the Cockettes film "Tricia's Wedding" which spoofed the wedding ceremony of Richard Nixon's daughter. The first we've seen in an uncut poster format.

      [Bookseller: Michael Laird Rare Books LLC]
 38.   Check availability:     Biblio     Link/Print  


        Twilight II’ Woodblock Print by Akira Kurosaki

      Self published 1971 - An original coloured woodblock by Akira Kurosaki printed on the artist’s own watermarked hand-made paper. No 33/50 copies. Signed, titled and dated ‘71 in red pencil by Akira Kurosaki . General overall browning in margin,which is not noticeable when mounted.Print size 410 x 285 mm; Sheet size 500x 360mm [Attributes: First Edition]

      [Bookseller: Roe and Moore]
 39.   Check availability:     AbeBooks     Link/Print  


        Dutch Details.

      (Deventer/Arnhem), The Octopus Foundation/Sonsbeek 71, 1971. Blank cardboard wrappers with letterpress-title on front panel (hardcover), 11,5 x 38 cms., 23 pp (10 lateral fold-out pages) with 116 offset printed black-and-white images of bridges and the buildings taken with a hand-held at bridge-locations and the bridges themselves, covering the communities of Veendam, Stadskanaal, Musselkanaal and Ter Apel, all situated in the North of The Netherlands. Wrappers show some discooration due to age, a very small strip of title-page (0,2 cm.) faded, but generally a fine copy of this very scarce publication. Edition of 3000 copies (of which many were lost, some say only approximately 200 have been survived). Ruscha, Ed/Edward.

      [Bookseller: Luïscius Books]
 40.   Check availability:     NVvA     Link/Print  


        Rime amorose e morali.

      Cento amici del libro, 1971. impresso col torchio a mano di Giovanni Mardersteig in 140 esemplari. l'acquaforte del supposto autoritratto di Leon Battista Alberti è di Pietro Annigoni

      [Bookseller: Libreria del Riacquisto Libet]
 41.   Check availability:     maremagnum.com     Link/Print  


        Acetate Master in Colours for the 1971 'Rupert' Annual (Alfred, 1892-1986, Writer and Illustrator of the Rupert Bear Stories)]

      1971 - showing Rupert meeting a friend carrying a parcel, and being led somewhere by the friend, 4 hand-coloured panels each 3½" x 4" on card mount 13½" x 9½", vignettes of Rupert and his mother in top corners of mount, no place, Alfred Bestall took over the Daily Express stories and drawings from creator Mary Tourtel in 1935. He maintained her image of Rupert, improved the stories and expanded the backgrounds to include his beloved Snowdonia. His produced his last daily story in 1965, but he continued working on the annuals for several years. Here the pictures have that essential element - What happens next?

      [Bookseller: Sophie Dupre ABA ILAB PADA]
 42.   Check availability:     AbeBooks     Link/Print  

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