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

        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 ]
 1.   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]
 2.   Check availability:     Biblio     Link/Print  

        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]
 3.   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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        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 ]
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      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]
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        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]
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        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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        Huckleberry Finn. Eight Signed Color Lithographs Based Upon Incidents in the Mark Twain Novel.

      Paris: Fernand Mourlot, 1972. One of only 200 suites of full-color, 25 by 19 3/4-inch lithographs based on the artist's illustrations for the 1940 Heritage Press edition of the Twain classic. When he was commissioned in 1935 to illustrate the Press's new editions of Tom Sawyer and Huck Finn, Rockwell visited Hannibal, Missouri, to get a feel for the place where Twain grew up. Expecting urban sprawl to have made the town unrecognizable as the place Twain wrote about, Rockwell found exactly the opposite to be true. In his autobiography, he commented that Hannibal had turned Mark Twain into a kind of cottage industry by naming everything from markets to hotels to barber shops after him. Today, that list would include the Mark Twain Museum, where a number of Rockwell's own paintings for Huck Finn and Tom Sawyer hang on display. It is fitting that Rockwell, whose genius lay in his ability to portray an idealized vision of small-town America, and whose paintings often featured children, should have illustrated Huck Finn, the quintessential American coming-of-age tale. At the same time, it is perhaps a surprise that a man who admitted an aversion to life's rougher, seedier aspects would illustrate a novel with such an unsavory cast of characters including murderers, swindlers, drunkards, and thieves. This suite of illustrations, then, represents an intriguing union of two visionary artists whose varying, though essentially sympathetic, depictions of the American experience endure to this day. The eight illustrations in this suite include: "Then Miss Watson took me in the closet and prayed"; "Jim got down on his knees"; "Miss Mary Jane"; "My hands shook"; "Your eyes is lookin'"; "Then for three minutes, or maybe four"; "There warn't no harm in them"; and "When I lit my candle." All are printed on handmade Velin d'Arches paper and signed by the artist in a bold hand in the lower right corner. Housed in a tan canvas portfolio with tie straps. Portfolio with the usual "Huckelberry" misspelling to the front cover. Prints and portfolio very fine. (Claridge, pp.258-260).

      [Bookseller: Bromer Booksellers]
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        Die Österreichischen Maler des 19. Jahrhunderts. 4 Bände und 2 Ergänzungsbände. 6 Bände.

      Wien, Selbstverlag, bis 1979 1972 - Wien, Selbstverlag, 1972 bis 1979. Leineneinbände mit goldgeprägten Rücken- und Deckeltitel mit Schutzumschlag (nur Ergänzumngsbände mit Schutzumschlag, Leinen sauber). - Die Ergänzungsbände umfassen Angaben von 2600 Malern, die 'vollständig neu oder ergänzend zu besprechen sind'. - Vorsatzpapier von Band 2 und von Ergänzungsband 2 am Falz lädiert, Bindung fest, sauberer ordentlicher Zustand.

      [Bookseller: Antiquariat Hubertus von Somogyi-Erdödy]
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        I travestiti

      Roma: Essedì Editrice, , 1972. Rilegato (hardback). Ottimo (Fine). Testi e fotografie in bianco e nero di Lisetta Carmi. Una nota di Elvio Fachinelli. Inserto di 16 pagine di carta rosa sottile con riproduzione di foto e lettere dattiloscritte che i protagonisti del libro inviarono alla fotografa. Testi in italiano e inglese tradotti da Pietro Ferrari. 4to. pp. 164. Ottimo (Fine). Dorso con piccola mancanza, leggere fioriture alle prime pagine. Prima edizione (First Edition). "I travestiti si mascherano, è vero, ma lo fanno per necessità. Hanno però il coraggio di fare quello che fanno e di affronatre una realtà spesso drammatica e violenta. Per molti di loro non esiste un'alternativa di lavoro: come uomini hanno un aspetto troppo femminile, come donne hanno l'impedimento dello stato anagrafico maschile. Sopportano stati di solitudine incredibile proprio perchè da una parte la società li ricerca e dall'altra li isola, li obbliga praticamente a vivere in ghetti (a Genova il loro quartiere è proprio l'antico ghetto degli ebrei), ha paura di riconoscersi in loro. Li usa, li paga, li giudica: ignorando volutamente che sono esseri umani. Ma io credo che il giudizio che noi diamo degli altri è quasi sempre un giudizio che noi diamo di noi stessi: ciò che negli altri ci spaventa è in noi. E difendiamo noi stessi sempre offendendo quella parte di noi che rifiutiamo" (Lisetta Carmi, dalla quarta di copertina)

      [Bookseller: Studio Bibliografico MArini]
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        The Archive of Michael McClure

      Berkeley and Burnaby, Canada: 1972-1974. A collection of signed contracts and correspondence relative to the sale of McClure's archive to Simon Fraser University, together with annotated lists of the collection.

      [Bookseller: Alan Wofsy Fine Arts]
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        Viaggio verso il nord

      Milano, Cerastico, Gli Smeraldi 1972 - 7 litografie originali a colori di Ceri Richards (da cm 24x30 a cm 44x31). Le lito sono firmate e numerate da Frances Richards, moglie dell'artista. Poesie e nota di Sanesi in italiano e in inglese. Traduzione di William Alexander. Folio. pp. 60 non numerate. . Ottimo (Fine). . Prima edizione di 100+X+20f.c. es. numerati. . Brossura, custodia (wrappers, slip-case) [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Marini ALAI - ILAB]
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        The Quality of Hurt, with Photograph of Ossie Davis

      Garden City: Doubleday. 1972. Himes's autobiography, inscribed to Ossie Davis, who co-wrote and directed the 1970 film Cotton Comes to Harlem, based on Himes's novel of the same name. Inscribed: "For Ossie Davis, Salut et Fraternité/ Chester Himes." Himes's series of hard-boiled crime novels featuring Gravedigger Jones and Coffin Ed Johnson used the genre to explore and reveal little-known aspects of the black culture of postwar Harlem in much the same way that Walter Mosley's novels have done for the black subculture of postwar Los Angeles. Because Himes lived most of his adult life in France, books signed by him are relatively uncommon. Significant association copies of books by Himes are genuinely rare. Here offered together with an original photograph of Davis on the set of the film, with actors Godfrey Cambridge and Raymond St. Jacques. The book is stamped "Property of Ossie & Ruby Davis" on the first blank, below the inscription; a near fine copy in a supplied, near fine dust jacket. The 5-1/2" x 7" silver gelatin print of Davis by John Rodriguez is dated 8/1969 and is matted and framed. First Edition. Hardcover. Near Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA]
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        Poesie dal tappeto volante

      Plain Wrapper Press, 1972. Quattro poesie di Mozzambani, una serigrafia originale di Rodolfo Aricò e una litografia originale di Bernard Cohen, numerate e firmate dagli Artisti (cm 51x36) . Folio (cm 51x36). pp. 24. Ottimo (Fine). Edizione originale di 150 es. numerati e firmati.

      [Bookseller: Studio Bibliografico Marini]
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        The Rime of the Ancient Mariner.

      London: The Arcadia Press, 1972 - Folio. Original half vellum, handmade "seaweed" paper boards, spine with gilt titles direct, top edge gilt, others untrimmed, green endpapers, calligraphic-style text printed in green and black on handmade seaweed paper, made using a process in which seaweed is pressed into the paper, reproducing with striking likeness the transluscent quality of submarine flora. With the original cream paper slipcase. Two tiny white specks to front free endpaper due to production flaw; slipcase with minor rubbing to extremities and light bowing to fore edges. A bright and fresh copy. With 10 tipped-in colour plates. Signed limited edition, number 86 of 110 copies signed by the illustrator Errol Le Cain, the calligrapher David A. Howells, and the paper maker Philip H. Rowson. The contrast of Le Cain's boldly colourful illustrations with the delicate quality of the pressed seaweed peppered throughout the text lends itself particularly well to the subject of Coleridge's epic poem.

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

        President Nixon assures financier Jack Dreyfus "that over the next four years I shall do everything I possibly can to make a record which all Americans, regardless of party, will be proud of as we celebrate America's 200th Birthday in 1976" - 20 months after writing this, Nixon resigned

      Washington, DC, November 30, 1972. 7" x 10.5". "Typed Letter Signed ""RN"" as President, 1 page, 7"" x 10.5"". Washington, November 30, 1962. On pale green White House stationery with the blind embossed presidential seal at top center. To financier Jack Dreyfus. With original postmarked White House envelope. Fine condition.In full, ""As I look back to the results of November 7, I want you to know how deeply grateful I am for all that you did to help us win one of the greatest landslide victories in American political history. Only with your help were we able to get our message across to the millions of voters who supported us.""I hope I soon will have the opportunity to thank you personally for your support. In the meantime, I can only assure you that over the next four years I shall do everything I possibly can to make a record which all Americans, regardless of party, will be proud of as we celebrate America's 200th Birthday in 1976. With appreciation and best wishes.""Financier Jack Dreyfus (1913-2009) was the founder of the Dreyfus Fund. In 1964, Life magazine called him the “Maverick Wizard Behind the Wall Street Lion,” in reference to the emblem of his fund and its aggressive marketing. Dreyfus, it said, was “the most singular and effective personality to appear in Wall Street since the days of Joseph Kennedy and Bernard Baruch.” His paternal grandfather was a first cousin of Alfred Dreyfus, the protagonist of the late 19th-century anti-Semitic scandal known as the Dreyfus Affair. Dreyfus sold his mutual fund company in 1970 and established the Dreyfus Health Foundation to pursue other medical applications for Dilantin which had cured his depression in the 1960s. In 2000, Dreyfus said that an account in The Arrogance of Power: The Secret World of Richard Nixon by Anthony Summers (New York: Viking, 2000) that he gave Dilantin to Richard Nixon in 1968 was correct. Dreyfus said he gave Nixon a bottle of 1,000 capsules of 100 milligrams each ''when his mood wasn't too good,'' and later gave him another bottle of 1,000 capsules."

      [Bookseller: University Archives]
 25.   Check availability:     Biblio     Link/Print  


      1972. Macerata La Nuova Foglio 1972 4° Pagine 122 Legatura editoriale in velluta stampato in fotografia a due colori. Illustrato da 10 tavole fuori testo protette da velina e stampate su carta Fabriano in serigrafia da Giulio Turcato numerate e firmate a mano. Conservato entro astuccio editoriale in plastica acetata purtoppo danneggiato. Ottima e fresca copia. Edizione di 100 copie. Raro libro d'artista. Presumibile tiratura di 100 esemplari. Nostra copia N°26 (come da numerazione delle tavole 26/100

      [Bookseller: Libreria antiquaria Segni nel Tempo]
 26.   Check availability:     Link/Print  

        L'Album photographique de Christian Boltanski 1948 - 1956. FINE COPY.

      Hamburg/Paris, Edition Hossmann/Sonnabend Press, 1972. Metal box with handwritten title by C. Boltanski in black marker on the lid of the box, 22,5 x 16,5 x 5,2 cms., containing a book approximately in the size of the box consisting of a title page, 32 b/w original gelatin-silver-prints by Annette Messager mounted on 32 white cardboard plates, 1 colophon page, numbered '44' and signed in pencil by Boltanski. From the Special Edition: 60 copies (apart from 10 not-for-sale copies).

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

        Learning from Las Vegas

      Cambridge, MA: The MIT Press, 1972. First Edition. Hardcover. Like New. Signed. First edition, first printing. Signed and inscribed by Robert Venturi to previous owners "A graphics monstrosity for Tom and Marjorie with our thanks for a heavenly day / Bob and Denise / April '81" with Denise Scott Brown's signature ("and Denise") added to Venturi's inscription. Errata slip laid in. About Fine, with bottom rear corner and bottom edge of front board bumped, light shelf wear, light toning to pages. In a Near Fine dust jacket with toning, shallow chipping at the head, several tears and chips to the edges with very little loss, but still quite a remarkable survival of the notoriously fragile dust jacket.

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

        Autograph letter signed

      one page 29 May 1972, Austria - A brief note to Philip Dosse[ACUTE], editor of "Books and Bookmen", requesting that he send a copy of Auden's review of his great friend and sparring partner Edmund Wilson's latest book to Wilson c/o Random House.(The review is entitled "Wilson's Sabine Farm" - Mendelson 518.) Slight creasing but in nice condition.

      [Bookseller: Peter Grogan]
 29.   Check availability:     AbeBooks     Link/Print  

        La casa di Louis. Breuil.

      1972 - Olio su tavoletta di cm. 15 x 23. Firma in basso a sinistra.

      [Bookseller: Libreria M. T. Cicerone]
 30.   Check availability:     AbeBooks     Link/Print  

        Gantner ou la transparence

      Munier 1972 - Paris, a compte d'auteur , 1972 - En feuilles , sous emboitage - 44 pages et 8 lithographies toutes signées par l'artiste - In4 ( 34x28cm ) - Tirage a 150 exemplaires , celui ci numéroté 144 sur Vélin de Rives avec signatures de l'auteur et de l'artiste au justificatif - Parfait état .Ouvrage Rare

      [Bookseller: L'ENCRIVORE (SLAM-ILAB)]
 31.   Check availability:     AbeBooks     Link/Print  

        Atlas van de foto's en schetsen

      Museum Hedendaagse Kunst, Utrecht 1972 - Octavo. 144pp unpaginated. Original gray printed wraps. Atlas of photographs and sketches by Gerhard Richter."Gerhard Richter's ATLAS merits a special place within his oeuvre as a whole. It not only forms the basis of his entire work as a painter but is also an autonomous artwork in its own right. Richter recognized the intrinsic artistic quality of these collections of source material and, in 1972, framed the panels and exhibited them at the Museum Hedendaagse Kunst in Utrecht under the title ATLAS." (Staatliche Kunstsammlungen Dresden). The catalog for this exhibition was the first publication of "The Atlas" in book form, designed by Richter himself.Includes brief text by Wouter Kotte, the director of the exhibiting museum in Utrecht. The catalog is illustrated with b/w offset reproduction of photographs and sketches by Gerhard Richter, pasted onto separate thematically organized panels. Richter sees the "Atlas" not only as a documentation of the exhibition but as an alternative presentation the permits a nonlinear approach to the material. Text in Dutch. Light wear to edges of wraps and lightly rubbed. Barely starting at inside front cover. Wraps in overall very good, interior in very good+ condition. [Attributes: First Edition; Soft Cover]

 32.   Check availability:     AbeBooks     Link/Print  

        The Art of Elisabeth Frink. Introduction by Edwin Mullins.

      London: Lund Humphries, 1972 - Quarto. Original black boards, titles to spine in white. With the dust jacket. An excellent, fresh copy in the dust jacket, slightly finger-marked, with faded spine and a few nicks to extremities. Illustrated throughout with black and white photographic reproductions. First edition, signed limited issue. Number 66 of 75 copies with an etching signed by Frink, and tipped-in opposite the limitation page. It is unusual to encounter copies with the etching still present. [Attributes: First Edition; Signed Copy]

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

        Ghosts Issue 4 page 4

      DC Comics Inc, 1972. 16 x 10 inches. Fine. 16 x 10 inches. "Ghosts" is a horror comic book series. Each issue carried multiple stories of the supernatural. This issue features a fictional retelling of Abraham Lincoln's assassination by John Wilkes Booth in 1865. This page shows Booth approaching manhood and being told an ominous fortune by a fortune-teller. The final panel shows Booth's attack on Lincoln.

      [Bookseller: James Cummins Bookseller]
 34.   Check availability:     Biblio     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]
 35.   Check availability:     Direct From Bookseller     Link/Print  

        (Würzburg - Die Festung Marienberg mit der Schottenkirche),

       1972. Blick von Norden auf das ehemalige Schottenkloster mit seinen Doppeltürmen über die Deutschhauskirche hinauf zur Nordflanke der Festung. Studie aus blauen Aquarellfarben über Bleistift von Wolfgang Lenz, re. u. sign. u. dat. \"1972\". Ca. 12 x 26 cm. - Unter entspiegeltem Glas mit Passepartout neu gerahmt. Rahmung im Preis inbegriffen. Auf leicht gebräuntem und minimal stockfleckigem Papier. - Die Aquarellfarben hat Lenz zart und dezent eingesetzt, die Konturen der Gebäude dagegen klar und präzise. - Wolfgang Lenz: Würzburg 17.3.1925 - 1.1.2014 Würzburg. Lenz studierte in den Jahren 1949-1958 an der Akademie der bildenden Künste in München und verbrachte während dieser Zeit ein einjähriges Studienjahr in Rom. Lenz, der in vorbildlicher Manier alle malerischen und druckgraphischen Techniken beherrscht, trat besonders bei der malerischen Ausgestaltung repräsentativer Räume hervor. In Würzburg war die Rekonstruktion des im Krieg zerstörten Spiegelkabinettes der Residenz sein Verdienst. Mit der Ausgestaltung des Würzburger Ratssaales lässt er die Stadtgeschichte den Volksvertretern bildhaft vor Augen treten. Über Würzburg hinaus erlangten seine Ausgestaltungen des Hessischen Staatstheaters Wiesbaden, des Restaurants im Münchner Prinzregententheater und der Bayerischen Landesvertretung in Berlin Berühmtheit. Sein in der Würzburger Städtischen Sammlung befindliches Gemälde der mahnenden Brückenheiligen vor dem zerstörten Würzburg (Würzburger Totentanz - Zum 16.März 1945, 1970) stellt ein eindrucksvolles Zeugnis gegen Krieg und Gewalt dar. Eine besondere Auszeichnung erfuhr der Künstler 1992 als Ehrengast der Villa Massimo in Rom. Lenz zählt zu den herausragenden zeitgenössischen Künstlerpersönlichkeiten der Stadt. Versand D: 5,50 EUR Handzeichnung, 20. Jahrhundert, Deutschland, Franken, Würzburg, Lenz

      [Bookseller: Antiquariat Tobias Müller]
 36.   Check availability:     Link/Print  


      Instituto Nacional de Bellas Artes, Palacio de Bellas Artes, Departamento de Artes Plasticas, Mexico 1972 - Oblong 8vo., (24) pp., 17 full-page b&w photos. The pictorial wrappers are lightly rubbed and have a small crease at the upper tip. A very good copy laid-in a newly made cloth over boards chemise with a facsimile of the front cover affixed to the upper board. INSCRIBED by the photographer to Grace Mayer, the curator of photography for the Museum of the City of New York, and dated 1972. Prepared to accompany an exhibition held at the Instituto Nacional de Bellas Artes, Departamento de Artes Plasticias, July through September, 1972. [Attributes: First Edition; Signed Copy]

      [Bookseller: Andrew Cahan: Bookseller, Ltd., ABAA]
 37.   Check availability:     IberLibro     Link/Print  

        Robert Frank: The Lines of My Hand

      Tokyo: Yugensha/Kazuhiko Motomura, 1972. Hardcover. First edition, first printing, "New York City, 1948" slipcase variant. Fine hardcover in a Fine slipcase with a light scuff to the plate. Frank?s visual autobiography with work from every stage of his career (up to 1972), presented in chronological order and selected by Frank for their personal meaning, including photographs, collages, contact sheets, and film strips. Black buckram bound hardcover with title stamped in white to front and spine, housed in a black linen bound slipcase with a plate mounted to the front cover and title stamped in white to the spine, no dj as issued. Photographs and texts by Robert Frank; drawing by June Leaf; design by Kohei Sugiura and Syuhei Tsuji; layout by Sugiura, Tsuji, and Ralph Gibson. Reproduces a two-page spread from the August 1957 issue of Camera magazine with an essay in the form of a letter to Robert Frank from Gotthard Schuh. From an unnumbered edition limited to 1000 copies, with two slipcase variants of 500 copies each. 124 pages with 2 gatefolds; profusely illustrated in b&w; 10.25 x 13.75 inches. Chronology. Text in English. Tipped-in to the rear paste down, as issued, is a 30-page, staple-bound booklet with the text translated to Japanese and thumbnails of the book's plates. Ref: Parr & Badger, Photobook, Vol. I, p.261; Hasselblad Center, Open Book, p.286-287; Auer, 802 Photo Books, p.544. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX. Due to size and weight, international and expedited shipping will be more than quoted.

      [Bookseller: A&D Books]
 38.   Check availability:     Biblio     Link/Print  

        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". [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Henry Sotheran Ltd]
 39.   Check availability:     IberLibro     Link/Print  


      Random House, 1972, Hardcover, Book Condition: Near Fine Condition, Dust Jacket Condition: No Dust Jacket, Limited Edition. Maroon cloth binding tight, boards unmarked, corners sharp. Red topstain. Limited #184/300. In numbered red cardboard slipcase. Signed by author, underneath numbered edition statement. ; 8.40 X 5.40 X 1 inches; Signed by Author Quantity Available: 1. Category: Literature; Pictures of this item not already displayed here available upon request. Inventory No: 46237.

      [Bookseller: Books On The Boulevard]
 40.   Check availability:     Bookzangle     Link/Print  

        Lenny Bruce Without Tears (Original poster for the 1972 film)

      New York: Fred Baker Films, 1972. Original one sheet poster for the little-seen 1972 documentary. The second documentary to be produced on Bruce after his death in 1966, though the first, "Lenny Bruce in 'Lenny Bruce' (1967), was basically a film of a single performance. Baker's film combines footage of Bruce from "The Steve Allen Show," audio-only clips, an interview by Nat Hentoff with a broken-down Bruce near the end of his life, and the infamous video footage of Bruce dead in his bathroom of an overdose. A brutal and non-judgmental examination of the man who changed not only the nature of comedy, but the nature of performance itself. 27 x 41 inches (105 x 89 cm), folded. Fine.

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

        The Art of Elisabeth Frink

      London: Lund Humphries,, 1972. Introduction by Edwin Mullins. Quarto. Original black boards, titles to spine in white. With the dust jacket. Illustrated throughout with black and white photographic reproductions. An excellent, fresh copy in the dust jacket, slightly finger-marked, with faded spine and a few nicks to extremities. First edition, signed limited issue. Number 66 of 75 copies with an etching signed by Frink, and tipped-in opposite the limitation page. It is unusual to encounter copies with the etching still present.

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


      RIZZOLI, MILANO 1972 - CLASSICI DELL'ARTE ITALIANO Con introduzione da passi del Journal, n. 57 della collana diretta da Paolo Lecaldano, numerose illustrazioni a colori ed in nero in pagine ottimamente conservate, fioritura ai tagli, coperta rigida illustrata e con lievissimi segni di usura ai bordi, sovraccoperta illustrata e leggermente usurata al dorso ed ai bordi La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 999,00 euro.

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


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