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Displayed below are some selected recent viaLibri matches for books published in 1972

        Calder's Circus. Limited edition of 100 signed by Calder.

      New York: E.P. Dutton, 1972. 171 pages of text. Deluxe edition, number 48 of 100 signed and numbered by Calder in red pencil. The yellow paper of the hardcover binding is evenly bubbled from a manufacturing flaw, and the spine is lightly sunned. The price-clipped dustjacket is sunned on the spine; protected in archival mylar. The original red cloth covered slipcase is minimally soiled and minimally shelfworn. One tiny spot of minor discoloration on the rear blank endpapers. Illustrated. Edited by Jean Lipman with Nancy Foote. Circus figures photographed by Marvin Schwarz. Designed by Ellen Hsiao. The text is clean and unmarked. The dustjacket of the Deluxe Edition was price-clipped because the publication price of $35.00 was higher than the price printed on the dustjacket. First edition.. Signed. First Edition. Hardcover. Very good+ condition/Very good+ condition (DJ). Octavo (8vo).

      [Bookseller: Kurt Gippert Bookseller (ABAA) ]
 1.   Check availability:     ABAA     Link/Print  

        Osamu Nagahama: Atsuku Nagai Yoru no Shima (The Island of Long Hot Night) (lacking obi)

      Haga Shoten, Tokyo 1972 - First edition, first printing. Soft cover. Printed stiff wrappers; with photographically illustrated dust jacket. Photographs by Osamu Nagahama. Text (in Japanese) by Mineo Higashi. 140 pp., with 136 black-and-white and monochromatic plates in cyan and green. 7-1/4 x 10-1/4 inches.[Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume III. (London and New York: Phaidon, 2014)]. Near Fine (moderate creasing and wear to the extremities) in Very Good dust jacket (pronounced wear to the extremities, but intact), missing obi. From Parr & Badger: "Atsuku Nagai Yoru no Shima focuses upon the vexed subject of sexual relations between local Japanese women and American servicemen on Okinawa." The presence of the US military on Okinawa was the focus of much Japanese resentment, especially during the 1960s and 1970s, when the Vietnam war was also an issue. Shots of barbed wire fences and notices marked 'Restricted Area,' as well as the sheer sleaziness of the clubs and bars where such encounters take place, make the resentment quite clear. The book is, of course, shot in the familiar grunge Provoke style, but it has a flamboyant extra twist, with groups of images being presented as tinted monochrome -- green and blue -- rather that straight black and white." [Attributes: First Edition; Hard Cover]

      [Bookseller: Vincent Borrelli, Bookseller]
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        Le Coran

      Club du livre du mois 1972 - plein cuirpp. sérigraphies originales de charles hossein. 2 volumes 277 et 273 pages et un coffret représentant le manuscrit original [Attributes: Hard Cover]

      [Bookseller: arobase livres]
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      The Borealis Press, Ottawa 1972 - First edition - a paperback original. Signed by author without inscription on title page. Handwritten postcard written to previous owner (in different ink than the title page signature) signed by Shields and dated 29/5/02 laid in. An interesting combination of early and late signatures - the author passed away in 2003. 60 pp. Author's first book. A collection of poetry by the American-born Canadian author most well-know for her Pulitzer Prize winning novel The Stone Diaries. This work was never published in the United States.Keywords: CAROL SHIELDS OTHERS POEMS POETRY PULITZER PRIZE WINNER SIGNED FIRST EDITION [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Yesterday's Muse, ABAA, ILAB, IOBA]
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      A.BANTI,L.SIMONETTI, 1972. INTERLINGUE 18 Opera completa in diciotto volumi dall'anno 1972 all'anno 1979.Stampati dalla tipolitografia 3 effe scandicci di Firenze.Opera in buonissimo stato di conservazione.Titoli d'oro al piatto e al dorso.Alcuni dorsi sono leggermente scoloriti.Coperta del volume IX con lievissime macchioline di fioritura.Volume V con parte superiore della coperta con usura.Pagine in ottimo stato,solo lievissimi segni di fioritura in alcuni volumi.Numerose illustrazioni in biano e in nero all'interno. USATO

      [Bookseller: Biblioteca di Babele]
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        "Cerimonia (Il grande pellegrinaggio)". Superstudio 1972. (Fotomontaggio d'un grande volto animale di tipo scimmiesco, con immagine verticale sottostante, riquadrata e legenda in inglese, una folla in abiti da cerimonia ascende una lunga scalea fra pareti di roccia, fiancheggiata da guardie inglesi in uniforme).

      1972. S.l. (Milano), s.n.t. (Multirevol), s.d. (anni '70). Litografia originale a col. stampata su carta forte (cm. 70x100 compreso il margine bianco), titolata e numerata (N° 93 su tiratura di 100) a matita in basso. Fa parte degli "Atti fondamentali" nella serie "Vita, Educazione, Cerimonia, Amore, Morte" (21 marzo 1971 - 20 marzo 1972); progetto in cui il gruppo di Superstudio propone "la rifondazione antropologica dell'architettura". Dal testo: "ogni buon consumista ritiene oggi obbligo morale primario visitare il Dio Nudo in tutti i paesi di religione Consumista".

      [Bookseller: Libreria Antiquaria Gozzini]
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        The Satanic Rituals

      Seacaucus, NJ: University Books, 1972. First Edition. Hardcover. Like New. First edition, cloth issue. 220pp. Bright red cloth with black lettering. Near Fine with slightly bumped corners in Near Fine shiny black dust jacket unclipped ($7.95), rubbing along edge of spine panel, light edge wear. A very nice copy. The follow-up of The Satanic Bible from the founder of the Church of Satan, uncommon in cloth.

      [Bookseller: Burnside Rare Books]
 7.   Check availability:     IOBABooks     Link/Print  

        Mountains of the Murgha Zerin: between the Hindu Khush and the Karakoram

      Gifford 1972 - A very nice bright copy in tight binding Used - Very Good. VG hardback in VG price-clipped dust jacket [Attributes: First Edition]

      [Bookseller: Cotswold Internet Books]
 8.   Check availability:     IberLibro     Link/Print  


      - Guy Authier, Paris 1972, 17x24,5cm, en feuilles sous chemise et boîte. - Prima edizione, una delle 70 copie numerate su asta degli archi. La nostra copia è arricchita autografi firme di Jacques Prévert e André Posner e decorato con due piccoli disegni dello stesso. buffer di stampa bibliofilo accanto alla pagina mezza titolo come un ex libris. Bella copia. - [FRENCH VERSION FOLLOWS] Edition originale, un des 70 exemplaires numérotés sur vergé d'Arches. Notre exemplaire est enrichi des signatures autographes de Jacques Prévert et André Pozner et agrémenté de deux petits dessins des mêmes. Tampon imprimé de bibliophile en regard de la page de faux-titre en guise d'ex-libris. Bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Extensions Out: The Immeasurable Equation Volume II

      Chicago: Ihnfinity Inc/Saturn Research, 1972. First Edition. Side stapled textured wraps,144 leaves printed on rectos only. A near fine copy with just some slight tanning to the covers and a tiny tear to the top of the front wrap.. While the numerous versions of Sun Ra's first book published the same year 'The Immeasurable Equation' show up with some frequency, this second volume is much more uncommon. Illustrated with photographs of three murals by Aye Aton who was the sort of in house artist and percussionist with the Arkestra from 1972 to 1974 after a stint with AACM, playing on the Space is the Place soundtrack. John F. Szwed. Space is the Place: The Lives and Times of Sun Ra page 320. Sun Ra+Aye Aton : Space Interiors, and Exteriors, 1972.

      [Bookseller: Kenneth Mallory, ABAA]
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        WOOD ENGRAVINGS OF ERIC RAVILIOUS [Introduction by J. M. Richards]

      Kensington The Lion and Unicorn Press, Royal College of Art 1972 - First edition, LIMITED, number 80 of the second issue, which was limited to 500 copies. With 113 leaves displaying over 400 of Eric Ravilious' engravings, each leaf printed one side only, with fold-out index leaves. The title-page, front free-fly and colophon page also decorated with Ravilious engravings. Tall folio, in the original binding by Henry Brooks Ltd. of course gray cloth with a large woodcut block on the upper cover in black, the spine lettered in gilt, decorated endpapers. 19pp., 113 ff., 4 ff. index, 2ff. pp. A fine copy, the boards very slightly bowed and with trivial aging, internally very fine and as new. FIRST EDITION AND AN IMPORTANT CATALOGUE RAISONNÉ OF ENGRAVER ERIC RAVILIOUS AND ARGUABLY THE MOST IMPORTANT WORK OF THE PRESS. Six of the over 420 engravings here were reproduced from Ravilious' original blocks, the others (for which the blocks likely no longer existed) were painstakingly reproduced from other sources, all are in their original size and the collection comprises all of his engraved works which could be found and should be considered as complete as could be made possible. The print work was beautifully done by the Curwen Press on Grosvenor Chater's Basingwerk parchment. Ravilious engraved most of these illustrations for books and other publications. His first commission, in 1926, was to illustrate a novel for Jonathan Cape. He went on to produce work both for large companies such as the Lanston Corporation and the smaller, less commercial "Fine Presses", such as the Golden Cockerel, the Curwen Press and the Cresset Press. A handful of the engravings included here were never previously published. Ravilious' career was cut tragically short when, while working as a War Artist, the RAF patrol he was flying on failed to return. After four days of searching, he and the plane's four crewmen were declared lost in action. [Attributes: First Edition; Hard Cover]

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        Mario Yrisarry-Untitled (3rd International University Choral Festival)-1972

      1972 - "Untitled (3rd International University Choral Festival)" by Mario Yrisarry, Unsigned Serigraph printed in 1972. The overall size of the Serigraph is 72 x 41 inches. The condition of this piece has been graded as B: Very Good Condition, with signs of handling or age. Here is some supplemental information about the Serigraph: First edition serigraph, not signed and not numbered, created by Yrisarry to announce the Third International Choral Festival for the Lincoln Center in 1972. Referenced pages 52, 53 of the Lincoln Center Posters book. 100 posters were printed and 198 signed and numbered prints were created. This is mostly likely an overrun from the signed and numbered print run, as there is no text. [Attributes: First Edition; Signed Copy]

      [Bookseller: Rare Posters]
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        Judith. Tragödie in drei Akten.

      Manus-Presse, Stuttgart 1972 - Stuttgart, Manus-Presse, 1972. Folio M. 12 farb. Orig.- Lithographien (je 6) v. Max Ernst u. Dorothea Tanning. 49 S. Lose Lagen in OLwd.-Chemise und OLwd.-Schuber. Nr. 261 v. 500 Exempl., im Druckverm.v. M. Ernst u. D.Tanning signiert. schönes Exempl. Nr. 261 v. 500 Exempl., im Druckverm.v. M. Ernst u. D.Tanning signiert. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Seidel & Richter]
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        Souvenir 5 from Documenta 5 Kassel, 1972-1973. VERY FINE COPY. .

      Kassel/Dusseldorf, Kunsthalle Düsseldorf Wilhelm-Hack-Museum, 1972/1973. Mixed media (hand-colored photo collage covered with resin paint) on the lid of an aluminum and brass sealed suitcase, 25 x 40.2 x 12.2 cms., containing a green fragment of Kienholz" coated canvas dome, approx. 70 x 70 cms., from Documenta 5, three brass holes, fixed to an iron chain of 50 cms. bearing two iron seals, two iron pins, an iron string with ditto seal in order to stamp the suitcase (now loose) This work comes from an edition of three hundred (300) and was produced for Documenta V. Incised '153 K 73' on top of the suitcase on a brass label under the handle. On a printed sticker on bottom inside it says: 'Edward Kienholz, his heirs, assigns and devisees, own 15 per cent interest of this work and shall be paid fifteen per cent of the gross profit derived from any sale...[etc.]'. COMPLETE copy including a (mostly lacking) mounted brown envelope (opened) on bottom outside of the suitcase bearing the text in red: 'Notice: Instructions and Contracts inside. Completely remove this paper from suitcase' + German translation. Contains an envelope addressed to Edward Kienholz, 'Instructions for the Dome Edition Dusseldorf' (1 leaf), 'Agreement of Purchase and Sale with Reserved Interest' (2 leaves). Kienholz, Edward.

      [Bookseller: Luïscius Books]
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        Partita [Inscribed and annotated by the composer Kyzysztof Penderecki and its dedicatee, pianist Felicja Blumental

      [3 vols] Full score and two soloist's parts which have been inscribed by Penderecki to the work's dedicatee and first performer, Felicja Blumental, who has also annotated the score for performance throughout with additional corrections in Penderecki's hand. All three scores are very much working copies which have endured the indignities of annotation and preparation for performance by Blumental under the guidance of the composer with resultant damage and emendation, including sections of score cut and reinserted in new positions. 1. Full score bound in card wrappers with old staining throughout, first leaf torn with loss at head of page affecting beginning of the composer's inscription which dates from April 1972. Heavily annotated throughout in extrovert fashion at least partly by the composer in the characteristic purple felt tip pen with which he made the inscription on the first page. One leaf of inserted printed music score apparently relating to the cadenza is laid in with additional notation at number '36' also in Penderecki's hand. 2. Solisten-Spielpartitur, inscribed to Felicja in Lisbon in Polish, 18 January 1972, three weeks before the premiere given in Rochester, New York, on February 7th. In this score the harpsichord notation is systematically and carefully annotated in order to allow the soloist to identify her position within the piece with additional dynamics markings and instructions often naming instruments playing alongside the soloist and providing numbers to count by. There is additional notation for the Cadenza and an additional printed insert at number '36'. A cut in the final section is registered by two pages being clipped together before a set of careful instructions for the pick-up after the cut. 3. [Solisten-Spielpartitur] sol score heavily used and amateurishly repaired with sellotape, lacking wrappers, annotated throughout, mostly reproducing the changes and additions introduced into the first solo score above. This score shows signs of very heavy use suggesting perhaps that it was used by Blumental as her main performing score in order to protect the copy inscribed to her by the composer, effectively the dedication copy above. Usual alterations at number '36'. Penderecki wrote his Partita for the pianist Felicja Blumental who was married to Penderecki¿s close friend, the painter and art collector Markus Mizne, persuading her to play his Partita on a harpsichord instead of her usual instrument. The work was first performed in the prestigious Eastman School of Music and revised in the early 1990s. Blumental premiered the work under Walter Hendl but recorded the Partita several times under the baton of the composer, notably for EMI in 1972 when she will have used these scores. The Partita has been described as drawing on 'the graphic ideas of Paul Klee, with interpenetrating sections varying in colour and structure, and Yves Klein, with static sections of vibrating ¿sound space¿ or of resonance alone, which had inspired the composer in the late 1950s and early 1960s, and on the Baroque concertante tradition, in which the concertino, ingeniously complemented by amplified guitars, is opposed to the full ensemble sound.'

      [Bookseller: Modernfirsteditions]
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        Il poeta. Diario

      Officina Bodoni, 1972. Edizione di 165 esemplari firmati a penna dall'Autore. Mardersteig 180

      [Bookseller: Libreria del Riacquisto Libet]
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      LATERZA, 1972. ITALIANO 0,4 Pagine brunite ai bordi da fattore tempo rimanendo comunque in buono stato di conservazione, coperta morbida con lievissimi segni di usura e leggera fioritura, alcuni aloni da usura, fioritura ai tagli USATO

      [Bookseller: Biblioteca di Babele]
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        I FILOSOFI E I SELVAGGI 1580 1780

      LATERZA, 1972. ITALIANO 0,67 N. 721 della collana, pagine in buonissimo stato di conservazione, lieve fioritura ai tagli, brossura editoriale leggermente usurata al dorso ed ai bordi, ingiallita e con fioritura USATO

      [Bookseller: Biblioteca di Babele]
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      LONGO, RAVENNA 1972 - INDAGINI PROSPETTIVE ITALIANO Vol. n. 5 della collana diretta da Corrado Piancastelli, pagine in buonissimo stato di conservazione, brossura editoriale leggermente ingiallita e con lievi segni di usura ai bordi ed al dorso, fioritura ai tagli

      [Bookseller: Biblioteca di Babele]
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        A Republic, If You Can Keep It

      Earl Warren's first book-length work, its title based on Benjamin Franklin's epigrammatic reply (upon leaving the Constitutional Convention) whether we were to enjoy a republic or a monarchy--"a republic, if you can keep it". Presentation copy "For Robert Young Jr [?the biographer of Fatty Arbuckle] / with the best wishes of / Earl Warren"; a very good copy dustjacketed. Quadrangle Books, New York, 1972.

      [Bookseller: Meyer Boswell Books, Inc.]
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      EDIZIONI CINQUE LUNE, 1972. ITALIANO 0,39 Pagine in buonissimo stato di conservazione, fioritura ai tagli, al retrocopertina ed al frontespizio, brossura editoriale con alette, leggermente ingiallita al dorso ed al posteriore e con lievi segni i usura da scaffalatura USATO

      [Bookseller: Biblioteca di Babele]
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        Richard Nixon presidential letter and signing pen establishing a congressional Office of Technology Assessment which reported to and advised Congress on varied topics including terrorism, computer security and privacy, nuclear proliferation, genetic engineering, and the environmental impact of various technologies

      Washington, DC, October 20, 1972. 10" x 13" x 1.25". "Typed Letter Signed ""RN"" as President, 1 page, 6.5"" x 9"". Blind embossed presidential seal at top center. The White House, October 20, 1972. To Congressman R. Lawrence Coughlin, Washington, D.C. Blank corners toned. Housed with the 5.25"" inch, facsimile ""Richard Nixon"" signature on the barrel mentioned in the letter accompanying it. In a 10"" x 13"" x 1.25"" wooden display case, worn black frame. In apparent fine condition.In full, ""Recently I signed H.R. 10243, an Act to establish an Office of Technology Assessment within and responsible to the Legislative Branch of the Government. I thought you might like to have the enclosed ceremonial pen as a memento of this legislation becoming public law.""The Office of Technology Assessment (OTA) was created by Congress in 1972 when lawmakers expressed alarm that they couldn’t understand and properly legislate complicated science and technology issues. It ceased to exist in 1995 when it was defunded, a victim of Congress's Contract with America to shrink government. According to Jathan Sadowski in the Atlantic (October 26, 2012), OTA was started because “Congress recognized that it could not afford to wander blindly forward without an organization that would bridge technical expertise and political decision-making.” To prevent “capture by a particular political party,” OTA was overseen by a balanced bipartisan congressional Board with six Members from both the House and the Senate.OTA's purpose was to provide Congressional members and committees with objective and authoritative analysis of complex scientific and technical issues. Topics addressed by OTA included terrorism, computer security and privacy, nuclear proliferation, the effectiveness of satellite and space programs, genetic engineering, the environmental impact of various technologies, and the role U.S. forces should play in United Nations peacekeeping operations.Republican R. Lawrence Coughlin (1929 - 2001) represented Pennsylvania in the House of Representatives from 1969 - 1993."

      [Bookseller: University Archives]
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        Post Captain.

      Collins, London. 1972 - First edition. Octavo. 414 pages. The second Jack Aubrey novel.Slight fading, as usual, to head and tail of spine. Cover edges slightly bumped. Very good indeed in near-fine dustwrapper slightly creased at edges. [Attributes: First Edition; Hard Cover]

      [Bookseller: Peter Ellis, Bookseller, ABA, ILAB]
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        Le coran. 2 volumes et manuscrit d'Ibn al-Bawwäb.

      Paris, Philippe Lebaud - Club du Livre 1972 - Précédé d'une étude de Jacques Berque. Le coran traduit de l'arabe par Jean Grosjean, illustré de sérigraphies originales par Zenderoudi, accompagné du manuscrit d'Ibn al-Bawwäb commenté par D.S. Rice. Édition limitée. Cet exemplaire est numéroté en chiffres romains (MCCXXXI). Un des 2200 sur Vélin de Lana à l'intention des bibliophiles français. Paris, Club du Livre, Philippe Lebaud - Collection "Visages de la Culture" - 1972. Reliure de l'éditeur plein cuir fauve. Dos à nerfs orné de fleurons et filets à froid. Plats orné de texte en écriture arabe en relief. Tête dorée. Pas de rousseur. Étuis individuels toile verte à liseré. Dos légèrement frottés. Très bon état. Format in-4°(28x23). Le manuscrit d'Ibn Al-Bawwab relié plein cuir fauve, plats et dos ornés. Livret de sa traduction pleine toile verte. Très bon état. Format in-12°(19x14). Étui coffret commun, intérieur velours saumon. Dos cuir simulant 2 tomes à l'identique des 2 volumes de texte. Edition illustrée [Attributes: Hard Cover]

      [Bookseller: Livres et Collections]
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      LATERZA, BARI 1972 - PICCOLA BIBLIOTECA FILOSOFICA ITALIANO A cura di Armando Carlini, n. 8 della collana, pagine brunite ai bordi da fattore tempo e con lievissima fioritura, coperta morbida con lievissimi ed inevitabili segni del tempo, lieve fioritura ai tagli

      [Bookseller: Biblioteca di Babele]
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        Die Verbesserte Olympia-Edition. Mappenwerk mit 12 (überwieg. farbigen) Orig.-Serigraphien von 12 verschiedenen Künstlern.

      Blattgr. ca. 56 x 82 cm. 12 Bl., illustr. OKartonmappe (nur diese mit div. leichten Gbrsp.) Die Blätter ansich sehr gut erhalten. * Eins von 100 Exemplaren. Sämtliche Blätter numeriert, signiert u. datiert. Enthalten sind Orig.-Siebdrucke von Thomas Argauer, Holger Brandt, Bahri Drancoli, Elisabeth Endres, Günther Fieweger, Heinz Hüller, Alfred Kaiser, Eeva Konkola, Walter Montel, Hanno Rink, Georg Seesslen u. Peter Strauss. - Auf sehr unterschiedliche Weise greifen die Künstler im Vorfeld zur Münchner Olympiade 1972 Sport- und Olympia-Motive auf und ironisieren die Thematik.

      [Bookseller: Matthias Loidl]
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        Pleins et déliés, souvenirs et témoignages 1926-1972

      Original, one of 70 numbered copies on laid Arches paper, ours bearing the number 1, the only major paper edition. Our copy is full of original etching by Georges Hugnet. Autograph signature of the author on the justification of the draw. It should be noted that this copy is that of Guy Authier, the publisher of this book. Nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Guy Authier Paris 1972 17x25cm en feuilles sous chemise et boîte

      [Bookseller: Librairie Le Feu Follet]
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        A Collection of books.

      4to., 10 volumes in original publisher's bindings with dust wrappers where called for. In near fine condition. Fleur Cowles met Robert Vavra in Seville in the late sixties. They collaborated on various books including Tiger Flower and Lion and Blue, allegories written around Cowles's artwork. "Vavra and my husband and I have become very close friends and see each other often in Spain where he still has a home. His first real international recognition had come from collaboration with James Mitchener when he was writing Iberia. Vavra, so well suited to the challenge, became its camera eye and guide. In the last few years his expertise in portraying the beauty and behaviour of horses has given thousands of readers extraordinary pleasure. There is no one who can catch the magnificence of the horse on film better. His photographic work is now much sought after by collectors. He is just like his work, a magical man." The collection includes: Bulls of Iberia (1972) First edition limited signed edition, additionally inscribed "For mi querada amuga Fleur, thanks for your encouragement with this project - remember years ago in Seville when you first saw some of the photographs. Robert Vavra 1972 Seville". Curro. Reflections of a Spanish Youth (1975) 1st edition inscribed "For Fleur - This and all "Curro" books are for you -- for you, Fleur, querida amiga, collaborator y amante de Espana. As a social document that may last as a record of passing Sapanish life and tradition, I hope that "Curro" will honor you and please Tom. Con un fuente abago Robert Vavra 1975." Equus (1977). 1st UK edition signed and additionally inscribed "For Fleur and Tom with always from Robert Vavra." Such is the real nature of horses (1979) 1st UK edition signed "Robert Vavra". Vavra's Cats (1986) 1st US edition inscribed "For Fleur and Tom- Together again! Thank you for the inspiration. Lover ever Robert." Equus Reined (1987). 1st US edition inscribed "For Fleur and Tom who have just come from seeing these, until soon lover ever Robert." The Unicorn of Kilimanjaro (1988). 1st edition inscribed "For Fleur and Tom, my companion today on this safari, love ever Robert. 1988" The Unicorn of Kilimanjaro (1988). 1st edition inscribed "For Fleur and Tom, Sunday next I'm off again to the place I love so much, always and much love, Robert 1990." The Andalusian. (1991). 1st edition inscribed "For Tom and Fleur with love from Robert". Horses of the Sun (1995). 1st edition inscribed "For Fleur and Tom - so much of the inspiration for these images came from you, Fleur - for that you have my continued gratitude - love to you both, Robert May 2 1996".

      [Bookseller: Henry Sotheran Ltd.]
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        Tragedy Has Obligations

      Lime Kiln Press - One of only 200 copies handset in Weiss Roman and Italic, printed in red and black on Tovil hand-made paper, and signed by William Everson and Allison Clough. Tipped in reproduction of the author's holograph. Quarter black morocco with gilt spine titling, natural linen sides. A fine copy with the prospectus loosely inserted. William Everson master printer at the Lime Kiln Press, a handpress for aspiring printers at The University of California, set this previously unpublished poem as the course project for 1972-73. The poem is a stern admonition to Hitler, written in 1943. A truly wonderful and extraordinary production, utterly collectable. Language: eng Language: eng 0.0 Language: eng 0.0 Language: eng 0.0 [Attributes: Signed Copy; Hard Cover]

      [Bookseller: THE BOOKSNIFFER]
 29.   Check availability:     AbeBooks     Link/Print  

        Richard Nixon presidential letter and signing pen establishing a congressional Office of Technology Assessment which reported to and advised Congress on varied topics including terrorism, computer security and privacy, nuclear proliferation, genetic engineering, and the environmental impact of various technologies

      Washington, DC: , October 20, 1972. Washington, DC, October 20, 1972. 10" x 13" x 1.25". "Typed Letter Signed ""RN"" as President, 1 page, 6.5"" x 9"". Blind embossed presidential seal at top center. The White House, October 20, 1972. To Congressman R. Lawrence Coughlin, Washington, D.C. Blank corners toned. Housed with the 5.25"" inch, facsimile ""Richard Nixon"" signature on the barrel mentioned in the letter accompanying it. In a 10"" x 13"" x 1.25"" wooden display case, worn black frame. In apparent fine condition.In full, ""Recently I signed H.R. 10243, an Act to establish an Office of Technology Assessment within and responsible to the Legislative Branch of the Government. I thought you might like to have the enclosed ceremonial pen as a memento of this legislation becoming public law.""The Office of Technology Assessment (OTA) was created by Congress in 1972 when lawmakers expressed alarm that they couldn’t understand and properly legislate complicated science and technology issues. It ceased to exist in 1995 when it was defunded, a victim of Congress's Contract with America to shrink government. According to Jathan Sadowski in the Atlantic (October 26, 2012), OTA was started because â€

      [Bookseller: University Archives ]
 30.   Check availability:     ABAA     Link/Print  

        Watership Down - the true first printing

      Rex Collings, 1972 A first edition, first printing published by Rex Collings in 1972. A very good+ book without inscriptions (map complete), in a very good unclipped wrapper with two internal tape repairs. Rubbing to the edges, one or two closed tears on the edges. A very presentable copy.[removed][removed]

      [Bookseller: John Atkinson Books]
 31.   Check availability:     Biblio     Link/Print  

        PAUL CELAN La Revue de Belles Lettres - 96e année - Numeros 2 et 3 1972

      Genève: La Revue de Belles-Lettres, 1972 - 4° - 219pp - One original etching by G. Celan-Lestrage and one original dry-point by Pierre Tal Coat - tipped in Plates by G. Celan-Lestrange, Bram van Velde & Pierre Tal Coat. Publication dedicated to Paul Celan (1920-1970) Romanian-born German language poet and translator. First edtion, text in German, French & English, published in 120 numbered copies (our's N° 114). Original binding. Missing the original lithograph by Bram van Velde. In Fine condition [Attributes: Hard Cover]

      [Bookseller: °ART...on paper - 20th Century Art Books]
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        Side by Side: Gilbert & George the Sculptors 1971.

      London: Art for All, 1972 - Octavo. Original marbled cloth, spine and front board lettered in black. Small stain to rear board, and a little mild foxing to contents. An excellent copy. Illustrated throughout with black and white plates. Signed limited edition. Number 523 of 600 copies signed by the artists. [Attributes: Signed Copy]

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

        A History of English Law. 17 Vols. Complete set.

      1972. An Indispensable Work of Great Authority Holdsworth, Sir William S. Goodhard, A.L., Editor. Hanbury, H.G., Editor, Crimes, S.B., Introductory Essay and Additions. A History of English Law. Edited by A.L. Goodhart and H.G. Hanbury. With an Introductory Essay and Additions by S.B. Chrimes. Index volume prepared by John Burke. London: Methuen & Co., Ltd. and Sweet & Maxwell, 1972 (copyright date). ISBN 0421313404. 17 volumes. Hardcover. New. $2,850. * Seventh, latest and best edition of an indispensable work of great authority incorporating the latest revisions and additions. "The only complete history of the English law in detail. Also much essential bibliographical information.... No review can give an adequate idea of the masses of valuable learning contained in these volumes, the extent and variety of the ground which has been covered, or the tireless labour and sober scholarship which have been devoted to the task.": T.F.T. Plucknett, Harvard Law Review 38:698-701 cited in Marke, A Catalogue of the Law Collection at New York University (1953) 139.

      [Bookseller: The Lawbook Exchange, Ltd.]
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      Les éditions de minuit. First edition of 342 numbered copies on vélin d'Arches, this one of 50 hors commerce copies.Autograph inscription from Samuel Beckett to Ludovic (Janvier).Spine slightly sunned, not serious. Les éditions de minuit Paris 1972 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Allen Ginzberg. Miami 1972. (Fotografia originale)

      S. l., S. l. 1972 - Fotografia originale in b/n, cm 23 x 30,5, Âsilver print. Al verso etichetta e firma autografa della fotografa. Bella illamgine del poeta durante una manifestazione a Miami nel 1972. Paola Agosti, nata nel 1947 a Torino, ha iniziato nel 1969 la sua attivita' di fotografa indipendente. Ha fotografato leader politici, uomini di cultura e artisti di fama internazionale. Si e' occupata con particolare attenzione di volti e fatti del mondo femminile. Ha indagato la fine della civilta' contadina del Piemonte piu' povero, le vicende dell'emigrazione piemontese in Argentina e ha ritratto i grandi protagonisti della cultura europea del '900. E' autrice di vari libri fotografici su questi temi. ITA

      [Bookseller: coenobium libreria antiquaria]
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        The Guns of Avalon

      Garden City: Doubleday & Company, Inc, 1972. Hardcover. Fine/Very good. 8vo. 180pp. Rust colored cloth, spine printed in black. A fine copy. The dustwrapper is not price-clipped. There is a trace of roughness along the edge, and some light staining on the rear panel else is very good.  Signed by Zelazny on the title page, Howey A-3008.

      [Bookseller: Thorn Books ]
 37.   Check availability:     ABAA     Link/Print  


      First edition, one of 70 copies numbered on rod of Arches paper. Our copy is enriched autographs signatures of Jacques Prévert and André Pozner and decorated with two small drawings of the same. bibliophile print buffer next to the half-title page as an bookplate. Nice copy. Guy Authier Paris 1972 17x24,5cm en feuilles sous chemise et boîte

      [Bookseller: Librairie Le Feu Follet]
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        Archive of letters and typescripts to Elaine Rendell, 1970s

      One letter dampstained and largely illegible, the remaining in fine condition. An archive of letters and typescripts sent by Bly to Elaine Rendell in London, 1972-1978. Comprising six autograph letters signed and nine typescripts, of which four are signed and four are titled in manuscript by Bly at the foot. With four original envelopes. Bly sends news of his work, and forwards typescripts to the poet Elaine Rendell. Bly's last letter mentions her marriage to the poet Barry MacSweeney. Together Rendell and MacSweeney ran Blacksuede Boot Press, publishing works by Andrew Crozier, J. H. Prynne, Nicholas Moore and themselves. The typescripts are of the poems "Some November Privacy Poems"; "Watching a Turtle Climbing from a Rock"; "Doing Nothing Poem"; "Thinking of 'Seclusion'"; "Insect Heads"; "Prophets"; "To Live"; "Pulling the Boat Up Among Lake Reeds"; and "Jumping Out of Bed"

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

        SPARROW 1-72.

      Los Angeles, Santa Barbara, and Santa Rosa, CA: Black Sparrow Press, 1972-78. 8vo. self paper wrappers. variously paginated. 72 Volumes. Complete run of Sparrow, a literary periodical published by the Black Sparrow Press 1972-8. First editions of all issues. A monthly periodical which printed poetry, fiction, literary criticism, commentaries, and reviews.

      [Bookseller: Oak Knoll]
 40.   Check availability:     Direct From Seller     Link/Print  

        3 Grafiken auf 1 Blatt: vorderseitig: SCHILDKRÖTE UND SCHLANGE. MAHNMAL - rückseitig: NASHORNSAURIER. Holzschnitte aus dem Zyklus \"Pablo Neruda - Aufenthalt auf Erden\". Blindstempel \"Aus dem Atelier HAP Grieshaber\".

      Verlag Ph. Reclam, 1972, 3 Farb-Holzschnitte von HAP GRIESHABER (1909 - 1981), doppelseitig bedruckt, gerahmt im Passepartout (beidseitig verglast, vorn u. hinten, so daß alle Motive erkennbar sind), Rahmengröße: 52,5 x 73 cm, Blattgröße 30,2 x 43 cm, vorn: Schildkröte und Schlange 25,5 x 21 cm. Mahnmal 29 x 20,7 cm, hinten: Nashornsaurier 28,8 x 41,8 cm, Blindstempel. Vgl. Fürst 72/53/54/55, 72/75, Zim. 1105/1106/1107. Tadellose Erhaltung.Versand D: 7,50 EUR Grafik, Kunst

      [Bookseller: Versandantiquariat Matthias Heimberger]
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        A Collection of material relating to the production of the film Young Winston.

      From the estate of film director and actor Sir Richard Attenborough. The collection of material includes: An original pen, ink and watercolour set design (51 x 97 cms) by Don Ashton, signed and dated "Don Ashton December 1970". This set design shows William Buckle's Office at the Times Newspaper, as seen through a fanlight window. The role of George Buckle was played by Ian Holm. A folder of pre-production plans for the wayside halt train sequence with ordinance survey copy maps and photographs of the train and railway. The folder is addresses to Carl Foreman, The Holday Inn, Marrakech. The plans, printed from the original drawings, by John Graysmark show a little waterstaining. The photographs are annotated to show the changes that were needed to be made to the steam engine used. One of the memorable scenes from the film where Churchill escapes the Boers by jumping from a train. Don Ashton and John Graysmark were both nominated for the 1973 Best Art Direction-Set Decoration Academy Award for Young Winston. A green velvet covered and velvet lined chest with decorative metal hinges and trim (56 x 36 x 26 cms). With an engraved plaque on lid "For Dicky from Carl, fondly and gratefully, Young Winston, May - October 1971, presented to Attenborough by the film's director Carl Foreman. The velvet on the sides and lid is a little sunned, rubbed and soiled. This chest used to sit in front of Attenborough's desk in his office at Beaver Lodge. A box with about 30 sheets of headed notepaper, printed Winston S Churchill. The box filled out with blank stationary. A reproduction stage prop copy of Malakand Field Force. The cover imitates the first edition but the contents are made from an unrelated book. Richard Attenborough (1923-2014) was an English actor, film director and producer. His most memorable performances include Pinkie in Brighton Rock (1947), Squadron Leader Bartlett, 'Big X' in The Great Escape (1963), John Christie in 10 Rillington Place (1971) and John Hammond in Jurassic Park (1993). As a director, he won two Academy Awards for the 1983 epic Gandhi and during his career was the recipient of four BAFTAs and Four Golden Globe Awards. Among his other notable films as director were Young Churchill (1972) A Bridge Too Far (1977) Chaplin (1992) and Shadowlands (1993). He served as President of the Royal Academy of Dramatic Art and of the British Academy of Film and Television Arts. Richard Attenborough was made CBE in 1967, knighted in 1976 and raised to the Peerage as Baron Attenborough of Richmond upon Thames in 1993.

      [Bookseller: Henry Sotheran Ltd.]
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        Diane Arbus: An Aperture Monograph. Promotional Poster

      Millerton, NY: Aperture, 1972. EXTREMELY SCARCE PROMOTIONAL POSTER for the first edition of Diane Arbus's classic collection of photographs. Following Arbus's suicide in 1971, the curator of MOMA, John Szarkowski, began work on staging a major retrospective of Arbus's work. At first there was little interest in the project and the proposal for the accompanying catalog was rejected by every major publishing house before Aperture magazine's Michael E. Hoffman agreed to print the book. The resulting MOMA retrospective was a huge success, traveling throughout North America and attended by over seven million people; the corresponding book, Diane Arbus: An Aperture Monograph, has since become one of the most influential photography books ever produced, cementing Arbus's reputation as one of the most original and expressive photographers of her time. Roth 101.The promotional poster shows the cover image of the twins, perhaps Arbus's most iconic photograph.Millerton, New York: Aperture, 1972. Poster (approx. 24x18 in.). In fine condition. RARE. Fine.

      [Bookseller: The Manhattan Rare Book Company]
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        Original portrait photograph of James Baldwin

      1972. Bassouls, Sophie. 12 x 16 inch silver print, signed by the photographer. Sophie Bassouls, photographer with the Corbis-Sygma Agency, she has produced more than 3000 literary portraits. Her work has been widely exhibited, in France, and in the United States.

      [Bookseller: Thomas A Goldwasser Rare Books]
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      Guy Authier. First edition, one of 70 numbered copies on Arches paper, the only large paper copies. Autograph signatures of both authors, further enriched with a little drawing by Jacques Prévert. This copy retains its brown cloth box, illustrated on the upper cover with a collage by Jacques Prévert. A very good and rare copy. Guy Authier Paris 1972 16,5x24,5cm en feuilles sous chemise et boîte

      [Bookseller: Librairie Le Feu Follet]
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        Film suivi de Souffle

      Les éditions de minuit. First edition of the author's french translation, one of 50 numbered copies on vélin d'Arches paper, an hors commerce copy, the only large paper copies with 292 other vélin d'Arches paper.Precious copy inscribed and dated December 1972 by Samuel Beckett to his friend the painter Geer (Van Velde) and his wife Lise.Spine and back cover slightly discolored."What to say of the sliding planes, the shimmering contours, the cut-out figures in the fog, the balance that any little thing can break, breaking and re-forming themselves under our very eyes? How to talk about the colors that breathe and pant? Of the swarming stasis? Of this world without weight, without force, without shadow? Here everything moves, swims, fells, comes back, falls apart, re-forms. Everything stops, non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature" (The van Veldes' Art, or the World and the Trousers, in Cahiers d'Art n°11-12, Paris 1945).Beckett here is not talking - despite how it may appear - about his literary oeuvre, but about the paintings of Geer Van Velde, going on to add a few lines later "[Bram] Van Velde paints distance. G[eer] Van Velde paints succession." This elegy, published on the occasion of the double exhibition of the Van Veldes (Geer at Maeght's and Bram at the Galerie Mai) is the first important text on these painters, more or less unknown to the public at the time: "We've only just started spouting nonsense about the Van Velde brothers, and I'm the first. It's an honor." This is also the first critical text written directly in French by a young Irish writer who had not, as yet, published anything in France.Thus, the first and most important of Beckett's writings on art, composed at the dawn of his literary career, establishes - right from the start - a fundamental relationship between his developing work and his friends' art: "Thus this text has often been read in a hollow or in the mirror, as one of the rare designations of Beckett's poetry (to come) by the man himself, a sort of anamorphic program of writing," (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar).A real statement of dramaturgical intent, this fundamental text whose introspective value Beckett lays out from the introduction on ("one does nothing but tell stories with words") ushers in the writer's most fruitful creative period. In essence, like Apollinaire and Cendrars, Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through "the deepest questioning of narrative, figurative or poetical presuppositions" (Pascale Casanova in Beckett l'abstracteur).The major influence of modern painting on the narrative structure - or destructuring - of Beckett's drama and novels would be pointed out and examined by a number of thinkers, among them Gilles Deleuze, Julia Kristeva and Maurice Blanchot. It was, in fact, with the art of the Van Veldes (first Geer then Bram) that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot, since: "the set must come out of the text without adding anything to it. As for the visual comfort of the audience, you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set, or see anything other than him?" (Letter to Georges Duthuit, 1952).When he met Geer in 1937, "Beckett was going through a major existential crisis and had just been reworking his first novel, Murphy, which had been rejected by a great many publishers. He was lost in alcohol, leaving Ireland and moving once and for all to Paris" (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). He returned from a long artistic journey in Germany, where he was marked by classical works as well as contemporary art - it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating the Moon, his source for Waiting for Godot.Art was thus at the heart of his creative thinking and the friendship that would tie him to Geer and later his brother Bram and their sister Jacoba (with whom his relationship may have been more than merely friendly), and which would profoundly influence his life and writing. His first writing on art is a short piece on Geer Van Velde, whose works he pressed on his new lover Peggy Guggenheim when she set up her new London gallery. Despite the relative failure of the exhibition (which followed Kandinsky's), he got his friend a one-year scholarship from Peggy. James Knowlson even thinks that "if Beckett maintained close links with Peggy for a long time, it was first and foremost because she could be convinced to give his artist friends a serious helping hand, starting with Geer Van Velde" (in Beckett, p. 474). Enigmatic, the little piece that Beckett wrote at the time at Peggy's request already contained a dramaturgical kernel of thought: " Believes painting should mind its own business, i.e. colors. i.e no more say Picasso than Fabritius, Vermeer. Or inversely."   Slower to develop, his friendship with Bram and interest in the latter's painting slowly changed Beckett's outlook on Geer's art and when, ten years after his first meeting the brothers, he wrote The World and the Trousers,  Beckett brought up to date a duality symbolized by the title, taken from an anecdote given as a legend to the article. The world is the "imperfect" work of God, made in six days, to which the tailor compares the perfection of his trousers, made over six months.The link between this anecdote and the Van Velde brothers is perhaps to be found in the second essay Beckett devoted to them, in 1948, Peintres de l'empêchement [Painters of the Problem] (Derrière le miroir n° 11/12) : "One of them said: I cannot see the object in order to represent it because I am who I am. There are always two sorts of problems - the object-problem and the 'eye-problem... Geer Van Velde is an artist of the former sort... Bram Van Velde of the latter."Resistance of the object or impotence of the artist, this tale, the "true primary narrative core in kôan zen form," (P. Vilar) would later find itself scattered throughout Beckett's work and would more specifically take centre stage in Endgame, whose similarity, by the by, with the art of Geer Van Velde was noted by Roger Blin. "At the time, he was friends with the Dutch brothers Geer and Bram Van Velde, both painters. Geer was a painter in the style of Mondrian. I have the feeling that Beckett saw Endgame as a painting by Mondrian with very tidy partitions, geometric separations and musical geometry," (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    Beckett's growing affinity for Bram Van Velde's work and the energy he put into promoting his work, especially to the galerie Maeght or his friend the art historian Georges Duthuit, was no doubt to the detriment of his relationship with Geer. Nonetheless, despite some misunderstandings, their friendship remained unbroken; as did the silent but anxious dialogue that the writer maintained with the art of the younger Van Velde brother, two of whose large canvases he owned. "The big painting by Geer finally gave me a sign. Shame that it should have turned out so badly. But perhaps that's not true after all" (letter to Georges Duthuit, March 1950). "Geer shows great courage. Ideas that are a little cutting, but maybe only in appearance. I have always had a great respect for them. But not enough, I think" (letter to Mania Péron, August 1951)The death of Geer Van Velde in 1977 affected Beckett deeply and coincided with a period of intense nostalgia during which the writer decided to give himself over to "a great clear-out" of his house so as to live between "walls as grey as their owner." Confiding his state of mind to his friend, the stage designer Jocelyn Herbert, Beckett bore witness to the indefatigable affection he had nurtured for the painter over forty years: "more canvases on display, including the big Geer Van Velde behind the piano."A precious witness to the friendship of these fellow travelers who had, ever since checking the veracity of the game of chess played by Murphy and Mr. Endon for Beckett's first novel, tackled together the great challenges of modernity: "It's that, deep down, they don't care about painting. What they're interested in is the human condition. We'll come back to that" (Beckett on the Van Velder brothers in The World and the Trousers).Spine lightly sunned as usual for Molloy and L'Innomable, a tiny tear (not serious) to foot of spine of the latter.  Les éditions de minuit Paris 1972 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Ugo Nespolo

      Prearo,, Primo regesto, 1972. Completamente illustrato in nero e a colori. Con 3 serigrafie a colori firmate dall'artista a matita, di cui una da ritagliare ed assemblare con appositi fili colorati allegati in sacchetto di plastica (cm 27x20, 27x20, 27x40) . 8vo. pp. 148 nn. Ottimo (Fine). Prima edizione (First Edition).

      [Bookseller: Studio Bibliografico Marini]
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