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Displayed below are some selected recent viaLibri matches for books published in 1973

        Thomas Pynchon and Bruce Allen Correspondence with Allen's working copies of Gravity's Rainbow for his influential Library Journal Review

      A small archive relating to critic Bruce Allen's seminal review of Gravity's Rainbow (published in the March 1, 1973 issue of Library Journal), including one Typed Letter Signed from Thomas Pynchon to Allen, responding with candor and appreciation to Allen's praise and commenting at length on Viking and the plight of the independent publisher "in an era of massive conglomeratizing." Pynchon's letter is together with Allen's three outgoing carbons of his letters to Pynchon, along with Allen's heavily annotated proof and first edition copies of Gravity's Rainbow, the former of which was used in composing his review. A detailed description available upon request. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Poet and the Rent

      Flossmoor, Ill[inois].: David Mamet. 1973. First. Quarto. 41pp. Mimeographed playscript printed in purple, printed rectos only, prong-bound into manila folder, hand-titled by Mamet on front wrap: "Poet and the Rent by David Mamet. This Copy Belongs To David Mamet" and with the number "19" in upper right-hand corner. Very good or better. David Mamet's personal copy of his second play. The title-page bears his printed copyright notice for 1973, from his hometown of Flossmoor, Illinois. Heavily annotated throughout in his hand, with dialogue rewritten on the verso of the title page and on another page, and on the inside of both wrappers. Also bears a pencil sketch on the rear wrapper of what appears to be a set, presumably in his hand; as well as a separate laid-in mimeographed leaf on blue paper providing a rehearsal and performance schedule and the locations on the Goddard College campus where they would be held. The play was first performed in March of 1973 at Goddard College in Vermont, where Mamet was a student and taught. The original cast included Oscar-nominated actor William H. Macy, who was Mamet's student and frequent collaborator and who made his directorial debut with a 1975 version of the play. This is very much a working production copy, with Mamet making changes, striking out lines he didn't like, inserting new dialogue and noting new ideas as they occurred to him. From the estate of Fritzie Sahlins. Sahlins was a co-founder with her husband Bernie, of Second City Theater Troupe, and worked with Mamet on his first full-length play, The Duck Variations, one year earlier. This play was published much later as Poet and the Rent by Samuel French in 1981 as an acting edition and (adding a "The") as The Poet and the Rent by Grove Press in 1986 in the omnibus edition Three Children's Plays. Overall the most substantive, heavily annotated, and earliest playscript of Mamet's that we've seen. OCLC locates no copies, although the finding aid to Mamet's papers at the Ransom Center seems to indicate that they have a copy with corrections in an unknown hand. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Thomas Pynchon and Bruce Allen Correspondence with Allen's working copies of Gravity's Rainbow for his influential Library Journal Review

      - A small archive relating to critic Bruce Allen's seminal review of *Gravity's Rainbow* (published in the March 1, 1973 issue of *Library Journal*), including one Typed Letter Signed from Thomas Pynchon to Allen, responding with candor and appreciation to Allen's praise and commenting at length on Viking and the plight of the independent publisher "in an era of massive conglomeratizing." Pynchon's letter is together with Allen's three outgoing carbons of his letters to Pynchon, along with Allen's heavily annotated proof and first edition copies of *Gravity's Rainbow*, the former of which was used in composing his review. A detailed description available upon request. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Linear and multilinear algebra. International Journal.

      Reading, Taylor & Francis, 1973/74-2001. - ISSN: 0308-1087. Titel rückseitig gestempelt und Buchrücken mit Bibliotheks-Signatur-Schild. Sprache: Deutsch Gewicht in Gramm: 35000 Rote Bibliotheksleineneinbände.

      [Bookseller: Antiquariat Trageser]
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        Stochastics / Stochastics and Stochastics Reports.

      Abingdon, Taylor & Francis, 1973/75-1994. - ISSN: 1744-2508, 0090-9491. Titel rückseitig gestempelt und Buchrücken mit Bibliotheks-Signatur-Schild. Sprache: Deutsch Gewicht in Gramm: 38000 Gr.-8°. Graue Bibliotheks-Leineneinbände. Bände 1 - 50 ohne die Bände 23/24 in 25 Bänden.

      [Bookseller: Antiquariat Trageser]
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        Les Dîners de Gala

      Paris: Draeger, Éditeur, 1973. Quarto. Original pictorial cloth, titles to spine and front board in white and black, illustrated endpapers. With the gold dust jacket and the original buff card slipcase. Illustrated throughout in colour and black and white. A fine copy. First edition, first impression, of Dali's classic cookery book of 136 recipes from Lasserre, La Tour d'Argent, Maxim's and Le Buffet de la Gare de Lyon (Le Train Bleu).

      [Bookseller: Peter Harrington]
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        Lindbergh of Minnesota: a political biography. Foreword by Charles A. Lindbergh, Jr.

      Harcourt Brace [1973], New York - "First edition, 8vo, pp. xix, [1], 363; 33 illus. on rectos and versos of 8 plates; shadow from newsprint on front flyleaf, else fine in the jacket. Political biography of the aviator's father. Signed on the title-page by Lindbergh, Jr., the aviator, by the author, and also by Eva Lindbergh Christo Spaeth, Lindbergh's daughter. Accompanied by the program of events for the opening of the Lindbergh Interpretive Center: Minnesota Historical Society Welcomes You to Opening Ceremonies Lindbergh State Park, Little Falls, Minnesota " a program which brought Lindbergh to his boyhood home for the last time, which is also signed and dated (Sept. 30, 1973) by Lindbergh who died shortly after this visit." [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        "Lindbergh of Minnesota: a political biography. Foreword by Charles A. Lindbergh, Jr."

      New York: Harcourt Brace. [1973]. "First edition, 8vo, pp. xix, [1], 363; 33 illus. on rectos and versos of 8 plates; shadow from newsprint on front flyleaf, else fine in the jacket. Political biography of the aviator's father. Signed on the title-page by Lindbergh, Jr., the aviator, by the author, and also by Eva Lindbergh Christo Spaeth, Lindbergh's daughter. Accompanied by the program of events for the opening of the Lindbergh Interpretive Center: Minnesota Historical Society Welcomes You to Opening Ceremonies Â… Lindbergh State Park, Little Falls, MinnesotaÂ…"" a program which brought Lindbergh to his boyhood home for the last time, which is also signed and dated (Sept. 30, 1973) by Lindbergh who died shortly after this visit."

      [Bookseller: Rulon-Miller Books]
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        The exchange of bibliographic data and the MARC format : proceedings of the International Seminar on the MARC Format and the Exchange of Bibliographic Data in Machine Readable Form, Berlin, June 14th - 16th 1971 = Austausch bibliographischer Daten und das MARC Format. Arbeitsstelle für Bibliothekstechnik bei der Staatsbibliothek Preussischer Kulturbesitz. [Organized by the Arbeitsstelle für Bibliothekstechnik in collab. with the IFLA Committee of Mechanization], Bibliothekspraxis ; Bd. 6

      München-Pullach ; Berlin : Verl. Dokumentation, 1973 - 196 S. : graph. Darst. ; 22 cm Ausgetragenes Bibliotheksexemplar, Deckel mit einzelnen leichten Gebrauchsspuren, Kopfschnitt mit minimalen Lagerspuren ISBN: 3794040066 Sprache: Englisch Gewicht in Gramm: 360

      [Bookseller: Versand-Antiquariat Konrad von Agris]
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        Cetology. A systematized exhibition of the whale in his broad genera: natural history excerpts from "Moby Dick" edited and illustrated by Ronald Keller

      The Red Angel Press, New York and Bremen, Maine 1973 - Designer binding on artist's book, the text from an edition of 100 copies, all signed and numbered by artist / printer / publisher, Ronald Keller. Page size: 9-5/8 x 10-3/4 inches; 48pp. Bound by Coleen Curry: extraordinary design extending across both panels, executed in gray water buffalo leather binding with laced on boards and sewn 'montage sur onglets' on cords (enabling complete opening of the 5 double-page spreads and the shaped text surrounding these woodcuts; edge-to-edge gray water buffalo leather doublures; blue, gray and silver silk embroidered end bands - just enough sparkle to suggest sea spray; okawara paper hand-dyed blue and gray by binder used for fly leaves and onglets. The inlay across the cover is collaged layers of top and back pared leathers, pressed and sanded multiple times to create texture and depth; collage mounted on an alligator belly split that was pre-tooled with silver foil using binder's custom made brass roulette. The title, CETOLOGY, is tooled in silver gilt on front panel to right of bas relief, the letters in all caps in a barely perceptible arabesque (think gentle wave swell). Both inlay and collage painted with micaceous iron oxide, silver, gray, blue acrylics. The original brown covers with Ronald Keller's woodengraving of whale skeleton in black are bound in at the beginning of the book. Signed by the artist, Coleen Curry, and dated 2016, with her artist's device, in silver gilt on bottom left back turn-in. Housed in custom-made blue cloth over boards clamshell box lined with gray suede, gray buffalo leather label on spine with title in silver gilt, smaller leather label with author's name at bottom. The artist notes her design inspiration was threefold: 1) Melville's text and Keller's art regarding the remarkable size range of cetaceans from a 1.5 meter porpoise to the majestic 30 meter blue whale, 2) her own fascination with how some whales carry up to 1000 pounds of whale barnacles on their bodies and, serendipitously, 3) her bindery overlooking the Pacific Ocean in Northern California where her design process was inspired by a dozen sightings of a mother Humpback and her calf breaching off the coast during in the late fall of 2015. She tells us she strove to create textured barnacles, the salty fresh scent of a turbulent ocean, and the awesome graceful motion of cetaceans swimming in light shimmering waves. The collage attempts to create that motion and texture by suggesting an abstracted pod of cetaceans varying in size and class. Ms. Curry has admirably succeeded. Her binding more than a cover; it is a bas-relief that is elegance itself. The entire production is wonderfully executed and perfectly suited to the natural world that both she and Ronald Keller, inspired by Melville's great text, sought to capture.Ronald Keller's text is hand set and printed letterpress in Plantin and Times Roman on straw-colored laid paper. The seven pages with original woodcuts by Ronald Keller are printed on straw colored Nideggen paper. Of these, two are triple gate fold pages with shaped text surrounding the woodcut images of two whales. These two woodcuts are printed in brown and black. The remaining images are printed in black (bit of smudging from woodcuts). The size of each mammal is in proportion to the others. A most ambitious first book, succeeding admirably, enhanced by this graceful binding by Ms. Curry. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Priscilla Juvelis Inc., ABAA]
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        The Black Doll: A Silent Film

      NY: Gotham Book Mart, 1973. Gorey, Edward. First edition. One of twenty-six lettered copies, signed by the author, Edward Gorey, designated for use by the author and the publisher. A picture of a black doll pasted to the front cover is the only illustration. Minor fingernail dent to spine where it was pulled from the slipcase, else fine in black boards and slipcase. (Toledano A49a).

      [Bookseller: Bromer Booksellers]
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        Stoner

      Allen Lane, London 1973 - Hardcover. First British edition. This is the first British edition of Williams's classic novel of life in academia. A fine book in a fine dust jacket. A beautiful copy. Front flap is clipped but publisher's price of "£2.50 net" is present. A recent bestseller in Europe, the novel has continued to gain recoganition with many scholars calling it the "best novel you never read." Wrote Julian Barnes recently: "It is good, and it has considerable substance, and gravity, and continuation in the mind afterwards." The British edition was published 10 years after the U.S. edition and is far more difficult to find, especially in collectible condition. [Attributes: First Edition; Hard Cover]

      [Bookseller: Sawtooth Books, ABAA]
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        Uomo con bastone.

      1973 - E’ morto a 92 anni l’ artista che immortalò Mussolini e Goebbels. Ma dal ’37 fu un antifascista in rivolta contro ogni potere Winkler, lo scultore di regime che divenne re della provocazione In un bronzetto aveva raffigurato il "critico d’ arte" col sedere piatto e la testa a forma di sciacquone mentre scrive vuote parole nell’ aria. L’ opera illustra con eloquenza il reciproco disamore fra la critica e Othmar Winkler, lo scultore altoatesino morto l’ altro ieri notte all’ ospedale Santa Chiara di Trento all’ eta’ di novantadue anni. Dalla vita burrascosa e solitaria appare chiaro che Winkler non ha fatto molto per guadagnare consensi. La sua ultima provocazione e’ del ’ 95. Invitato a una collettiva della Provincia di Trento, mando’ un "Enigma di Pinocchio" con appeso al naso del burattino un barattolo di feci personali per contestare la "degenerazione dell’ arte"; l’ opera gli venne respinta perche’ la "merda d’ artista" aveva gia’ avuto, nel 1961, il noto precedente di Piero Manzoni. Eppure ci fu un periodo, sette anni su novantadue, in cui Winkler fu lo scultore piu’ "ufficiale" che si possa immaginare: nel 1931, dopo aver visitato una sua mostra al Circolo della Stampa di Roma, Mussolini volle posare per lui (due ore al giorno per due settimane). Come d’ abitudine, l’ esempio del duce fu immediatamente seguito dai gerarchi: e Winkler scolpi’ i busti di Ciano, Teruzzi, De Bono, De Vecchi, Bottai, Marinetti e persino di Goebbels che ando’ a ritrarre fino a Berlino. Scultore di regime, dunque, e al piu’ alto livello. Ma un bel giorno, nel 1937, addio camicie nere. Il trentenne Othmar butto’ in strada i busti in gesso dei gerarchi, fuori dal suo studio romano di via XX Settembre, e prese il treno braccato dalla polizia. Fini’ a Oslo, dove frequento’ il pittore Edvard Munch e divenne antifascista, convinzione che si rinforzo’ l’ anno dopo quando, a Berlino, fu testimone degli orrori perpetrati dai nazisti contro gli ebrei nella "notte dei cristalli". Nel dopoguerra, il suo estro ribelle si diresse contro la classe dirigente ("i politici di oggi mi sembrano peggio di quegli altri, che se non altro avevano una corrusca grandezza" disse), in chiave soprattutto anticlericale, come quando raffiguro’ un cardinale in sella a un maiale, con la falce e martello sulla stola; oppure come quando le suore di Maria Bambina gli ordinarono una "Via crucis" e lui le ripago’ con i grattacieli e la locomotiva del Progresso che schiacciavano il Cristo, mentre la spada dell’ Anticristo era coperta da un ramoscello d’ ulivo. Allegorie bizzarre, se vogliamo contorte, indubbiamente eccentriche come il suo modo di essere ribelle e solitario, di volta in volta fascista e antifascista, anarchico e comunista, blasfemo e credente; che nel bene e nel male racchiude i tormenti di un secolo lungo quanto la sua vita. Cesare Medail. Firmato in basso a destra. Formato: China acquerellata su carta di cm 64x50. Buono, ordinari segni d’uso e del tempo.

      [Bookseller: Studio Bibliografico Adige]
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        LE 6° COUP DE MINUIT.

      AUX DEPENS DE LA GALERIE SIMONE BOUDET ET DES EDITIONS PRIVAT. (TROISIEME VOLUME DE LA COLLECTION «LA CONTRE-HORLOGE» DIRIGEE PAR ANDRE RIMAILHO). 1973 - PETIT IN-4 EN FEUILLES (19,5 X 33,5 X 2,5 CENTIMETRES ENVIRON) NON PAGINE DE 23 FEUILLETS, SOUS COUVERTURE GRISE REMPLIEE, TITRE EN NOIR SUR ETIQUETTE BOIS DE PLAQUAGE CONTRECOLLEE SUR LE PLAT SUPERIEUR ET SPECTACULAIRE ETUI METALLIQUE DECORE, AVEC UNE FENETRE LAISSANT APPARAITRE L'ETIQUETTE DE TITRE, RESERVE AU TIRAGE DE TETE, CONCU, REALISE ET SIGNE PAR YVAN ERPELDINGER (34 X 20 X 3 CENTIMETRES ENVIRON). AVEC UN FEUILLET DE PARTITION DE LA MUSIQUE DE SCENE DUE AU COMPOSITEUR JEAN-JACQUES ROBERT REPRODUIT EN FAC-SIMILE. ILLUSTRE PAR LEON GISCHIA D'UN DESSIN A LA PLUME EN FRONTISPICE ET DE 5 GOUACHES ORIGINALES REPRODUITES EN COULEURS AU POCHOIR PAR MARTINE FOURNIAL ET PATRICE BOUDET, CONTRESIGNEES AU CRAYON PAR L'ARTISTE. EDITION ORIGINALE ET PREMIER TIRAGE LIMITE A 68 EXEMPLAIRES NUMEROTES, DONT 15 HORS COMMERCE RESERVES AUX AUTEURS ET AUX EDITEURS, TOUS SUR PAPIER PUR CHIFFON, SPECIALEMENT CREE ET FABRIQUE A LA FORME PAR JEAN DUCHENE DANS SON MOULIN DE LALINDE, A COUZE, EN DORDOGNE. UN DES 18 EXEMPLAIRES DE TETE NUMEROTES DE «A» A «R», COMPORTANT CHACUN UNE PAGE DU MANUSCRIT DE PHILIPPE SOUPAULT, CELUI-CI PORTANT LE NUMERO «R», AVEC LES SIGNATURES AUTOGRAPHES DE L'AUTEUR ET DU DIRECTEUR DE LA COLLECTION. OUVRAGE RECHERCHE, RECENT, MAIS TRES RARE SUR LE MARCHE. [Attributes: Signed Copy]

      [Bookseller: Librairie du Château de Capens]
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        Image formation by induced local interactions: examples employing nuclear magnetic resonance" in Nature 242, 1973, pp. 190-191

      - FIRST EDITION OF THE NOBEL PRIZE WINNING PAPER IN WHICH LAUTERBUR HIS INVENTION AND GENERATION OF THE FIRST MRI (Magnetic Resonance Images). Lauterbur is known as the father of the MRI, an invention whose benefits can hardly be overstated. Working in 1973 at the State University of New York at Stony Brook, the American chemist Paul Lauterbur "developed a way to generate the first MRI in 2D and 3D, using gradients" (Nature Physics Portal). In this paper, Lauterbur describes his imaging technique - one that removed the usual resolution limits due to the wavelength of the imaging field. To do this, "[Lauterbur] used two fields: one interacting with the object under investigation, the other restricting this interaction to a small region. Rotation of the fields relative to the object produces a series of one-dimensional projections of the interacting regions, from which two- or three-dimensional images of their spatial distribution can be reconstructed" (ibid). Image formation, then, involves "a point in an object characterized through its joint interaction with two external fields. The method is demonstrated by producing images of two water-filled glass capillaries using NMR techniques. "First a linear magnetic field gradient is imposed on the object, and then the protons of the water are also exposed to a radio frequency (RF) field. Since the expected resonance frequency and relaxation times of the proton depend on the local magnetic field, the gradient creates a spatial 'scan' of the NMR properties of the object. If the direction of the gradient is rotated relative to the object, a MRI can be built up" (Gedeon, Science and Technology in Medicine, 499). Lauterbur shared the 2003 Nobel Prize in Medicine with Mansfield for discoveries concerningMRI. CONDITION & DETAILS: Full volume. London: Macmillan. 4to. (11 x 8.25 inches; 275 x 206mm). Ex-libris bearing only a small stamp on the first page. The volume is assembled from individual issues so there is no title page or table of contents. No wrappers. Handsomely and professionally rebound in half leather. 5 raised bands at the spine, gilt-ruled. One red morocco label; one black morocco label; both gilt-lettered. Tightly and very solidly bound. Clean and bright throughout. Very good condition.

      [Bookseller: Atticus Rare Books]
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        Captain Cook's Florilegium. A selection of engravings from the drawings of plants collected by Joseph Banks and Daniel Solander on Captain Cook's first voyage to the islands of the Pacific, with accounts of the voyage by Wilfrid Blunt and of the botanical explorations and prints by W.T. Stearn [with] Captain Cook's Florilegium: A note on its production by Joy Law, 1976

      London: Royal College, 1973. Large folio, with 30 engravings; a fine copy, in the original black Nigerian goatskin and Japanese silk, housed in a protective buckram case. One of the finest botanical productions of all time. The Royal College of Art's printing of these original eighteenth-century copper-plates appeared in an edition of only 100 numbered copies on specially handmade paper, presented in a specially designed binding by Zaehnsdorf of London. The edition was fully subscribed long before it was completed.When Cook's first voyage returned to London, the original botanical drawings were made into detailed and accurate paintings under Banks' supervision, with reference to the collection of actual specimens. Following this they were engraved, and we know that Banks intended to oversee full publication of the collection of engravings. In fact, only a proof impression was made and the undertaking abandoned. The British Museum (Natural History) holds the original copper-engraved plates, as well as the drawings and specimens themselves, and a set of the proof impressions made from the copper-engravings.Between 1900 and 1905 lithographic copies were made of 318 of these proof impressions and published as "Illustrations of Australian Plants collected in 1770". The copper-plates themselves remained unused, until in 1960 it was decided that the Royal College of Art should print a selection of the most beautiful. The result, after thirteen years of planning and trials, was this splendid production, which for the first time showed the extraordinary strength of the images. Perfectly printed, rich impressions in strong black ink, they show the important botany of the Cook voyage to great advantage, and at the same time make it a matter for regret that no eighteenth-century edition appeared.

      [Bookseller: Hordern House Rare Books]
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        Die Wappen des preußischen Adels 1. bis 3. Teil, komplett in drei Bänden. Reprografischer Nachdruck von Siebmacher s Wappenbuch. 1.Teil: Bd.III, 1.Abth. Der Adel des Königreichs Preußen . Grafen und Freiherren (Nürnberg 1859). Bd. III, 2. Abth.: Edelleute. Durchpaginiert 491 S., 512 Tfn. Und Anhang mit 43 S., 30 Tfn. // 2. Teil: Bd. VII, 2 Abth. Preußische Grafen und Freiherren. Ergänzungsband 55 S., 34 Tfn. Bd, III, 2.Abth, 2.Bd, 2.Tl: Der preußische Adel. Freiherren und Grafen 43 S., 30 Tfn. Bd. III, 2.Abth., 2.Bd.,1.Tl. Der preußische Adel. Edelleute (Nachträge und Verbesserungen) 230 S., 180 Tfn. // Teil 3: Bd.IV, 4.Abth. Ausgestorbener preußischer Adel, Provinz Preußen (Ost- und Westpreußen) (Nürnberg 1874) 120 S., 82 Tfn. Bd. VII, 3.A

      Bauer & Raspe, Neustadt a.d. Aisch , 1981, 1978. 1973 - 28 x 19,5 cm. Drei uniforme blaue Originalleinbände mit goldgeprägten Titeln auf dem Einband. Text zweispaltig gesetzt, teilweise ganzseitige s/w Abbildungen der Wappen. Sehr gute Exemplare. (= J. Siebmacher s Grosses Wappenbuch Bände 14, 15 und 16). IlluUeb

      [Bookseller: Antiquariat und Buchhandlung Carl Wegner]
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        Dance Hall of the Dead

      U.S.A.: Harper & Row 1973 - A fine first edition in a fine dust jacket, inscribed by Tony Hillerman. First Edition stated on the copyright page. Former owner's signature. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bookbid]
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        Signed 1973 Gene Davis Three Aces Lithograph

      1973 - "Three Aces" by Gene Davis, Signed Lithograph printed in 1973 from an edition size of 75. The overall is size of the Lithograph is 29.75 x 40.25 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 Lithograph: Signed, Dated, and Numbered out of 75 in pencil.Davis's first solo exhibition of drawings was at the Dupont Theater Gallery in 1952, and his first exhibition of paintings was at Catholic University in 1953. A decade later he participated in the "Washington Color Painters" exhibit at the Washington Gallery of Modern Art in Washington, DC, which traveled to other venues around the US, and launched the recognition of the Washington Color School as a regional movement in which Davis was a central figure. The Washington painters were among the most prominent of the mid-century color field painters. Though he worked in a variety of media and styles, including ink, oil, acrylic, video, and collage, Davis is best known by far for his acrylic paintings (mostly on canvas) of colorful vertical stripes, which he began to paint in 1958. [Attributes: Signed Copy]

      [Bookseller: Rare Posters]
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        Breakfast of Champions

      Delacorte Press, New York 1973 - First edition copy, very good in a near fine dust jacket, priced $7.95. Bind is tight and page are clean and stiff. Boards are bright orange, no fading. Signature on half title page matches gilt signature on front board. Page 267 has very short corner crease. Top edge shows small water marks but they do not have any effect on pages. Dust jacket is near fine, bright colors, not price clipped. 295 pages. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Wolfmueller's Books]
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        Action dokumentation / documentary "Tak . 1973 A. DUDEK-DÜRER" / Dokumentacja akcji "Tak . 1973 A. DUDEK-DÜRER"

      - Typ: photography / fotografia; Sygnatura: The unsigned photography. / Fotografia niesygnowana.; Technika: The photography - gelatin silver print / Fotografia - odbitka zelatynowo-srebrowa; Format: 172x1122 mm.; Datowanie: 1973.; Inf o autorze: A. Dudek-Dürer (born in 1953) the Wroclaw performer and multi-media artist, a graphics designer, a photographer, poet, he claims to be the incarnation of Albrecht Dürer, he udnerlines in his works spiritual, metaphisical and telepathic as well as meditational themes/motifs in the idea of religious synctretism.A. Dudek-Dürer (ur. 1953) wroclawski performer i artysta sztuki mediow, grafik, fotograf, poeta, artysta uwaza siebie za inkarnacje Albrechta Dürera, w tworczosci silnie podkresla watki duchowe, metafizyczno-telepatyczne i medytacyjne w duchu religijnego synkretyzmu.; Uwagi: The photography described on the back with a ballpen. Vintage print.Fotografia opisana na odwrocie dlugopisem.The Polish Neo-Avantgarde - Polska neoawangarda. (K074); The photography in extremely fine condition. / Fotografia w ladnym stanie.

      [Bookseller: POLIART Beata Kalke]
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        Egyptian Hieroglyphs

      Canton: Institute of Further Studies. (1973). First. First edition. [52]pp. Stapled illustrated wrappers. Staples pulling a bit, slight stain on one corner, else near fine. Inscribed by Sanders: "For Paul with highest regards - Ed. Mar '74." The recipient, Paul Fitzgerald, was the well-respected and pugnacious head attorney for Charles Manson and the members of "The Family" during the sensational trial in 1970 for the grisly Tate-LaBianca murders. Sanders wrote the definitive book on the cult of Manson and his followers, The Family, the complete and authoritative account of the career of Manson. He also dedicated the Japanese edition of The Family to Fitzgerald. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Another Roadside Attraction.

      London: W. H. Allen, 1973 - Octavo. Original pale purple boards, titles to spine gilt. With the pictorial dust jacket. An excellent copy in a lightly toned jacket. First UK edition, first impression. Inscribed by the author on the front free endpaper, "To James O'Roark, with those things that make the heat of life hottest. Onward, upward, backward, sideways and forever,Tom Robbins". Another Roadside Attraction, Robbins's first novel was first published in the US in 1972. [Attributes: Signed Copy]

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


        T. Orchids Revolutionary Catalogue & 1st A. O. C. Cat

      White Lotus, Bangkok 1973 - T. Orchids Revolutionary Catalogue & 1st A. O. C. Cat [Attributes: Hard Cover]

      [Bookseller: SEATE BOOKS]
 24.   Check availability:     ZVAB     Link/Print  


        Flashman at the Charge.

      London: Barrie and Jenkins (1973). - First British printing. 8vo. 286 pp. Map endpapers. Original red boards. SIGNED by Fraser on the title page. Spinal extremities lightly bumped else tight, near fine in a bright DJ with just a touch of spinal sunning else fine. Uncommon signed. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Thomas Dorn, ABAA]
 25.   Check availability:     AbeBooks     Link/Print  


        How Did We Find Out About Numbers?...

      New York: Walker and Company, (1973). Thin 8vo. 63pp. Illustrated in black and white. Red textured paper over boards. Spine printed in black. Upper board embossed in blind with a design by the illustrator. Inscribed on the front free endpaper by Asimov: "For Rick Harrison...." A fine copy. The dustwrapper is not price-clipped and shows the original $4.50 price. It is lightly toned with age else fine. Scarce signed. Fine / Fine....

      [Bookseller: Thorn Books, ABAA]
 26.   Check availability:     Direct From Bookseller     Link/Print  


        Fini, Leonor.- Les descriptions merveilleuses.

      O.O., Éditions d'Art Agori, 1973. - 4°. 38 nnum. Bll. Mit 10 sign. Orig.-Radierungen von Leonor Fini. Im Orig.-Umschlag auf Japon nacré. In marmor. Orig.- Papp-Kassette. Ebenso im Kolophon von der Künstlerin signiert. - Eins von 10 num. Exemplaren (Gesamtauflage: 255) der Vorzugsausgabe mit 1 signierten Original-Tuschezeichnung und 1 Orig.-Kupferplatte zu der Radierung "Mademoiselle Amanda" in einer Extrasuite. Zeichnung und Kupferplatte machen das Werk zum Unikat. - Kanten der Kassette etwas berieben. - De même signé dans le colophon par l'artiste. - L'un des 10 num. copies (tirage total: 255) l'édition spéciale avec 1 signé dessin original d'encre et de la plaque de cuivre 1 orig gravure "Mademoiselle Amanda" dans une suite supplémentaire. - Les bords de la cassette légèrement frottées. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Altstadt Antiquariat M. Weiers]
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        In der Oper. (Entscheidung der Frage, ob den Schwämmen Bewußtsein zukommt).

      Hamburg. Griffelkunst-Vereinigung. 1973. 45,4 x 62,8 cm. Tadellos frisches Exemplar. Edition für die Griffelkunst-Vereinigung, 1973. Offsetlithographie in Schwarz und Braunb auf grünem Velourspapier. Eins von 564 Exemplaren, signiert vorne unten rechts S. Polke.[Vgl. Becker / von der Osten. Polke - Die Editionen, Nr. 31, S. 96, mit Abbildung]. Versand D: 2,00 EUR 20. Jahrhundert / 20th Century, Deutschland / Germany, Kunst, Editionen, Grafik

      [Bookseller: Antiquariat Querido - Kunst und Fotograf]
 28.   Check availability:     buchfreund.de     Link/Print  


        Travelog

      MIT Press, 1973 Hardcover 1st Printing in $15.00-priced dust jacket, Near Fine in Near Fine, no remainder or text markings, NOT ex-lib, jacket mildly rubbed with some scratches & 2 very small closed tears at top flap fold & bottom spine fold, neat name/date to endpaper, else a Fine exemplary copy of this legendary photo book, impossibly scarce in cloth (dj in mylar protector). First Edition. Hard Cover. Near Fine/Near Fine.

      [Bookseller: Nighttown Books]
 29.   Check availability:     Biblio     Link/Print  


        Interaction of Color. Die Wechselbeziehung der Farbe.

      Starnberg, Keller, 1973. 2 Bde. 4°. 7 S., 47 S. + 81 Tafeln. Lose Blattsammlung in OLd.-Mappe sowie OLd., alles im OSchuber. DEA. Mit allen 81 Tafeln sowie beiliegender Briefkarte mit faksimilierten Text von Albers. - Schuber gering fleckig, leichte Lichtschatten. - \"... Interaction of Color ist keine Farblehre - es ist eine Verhaltensforschung der Farbe; eine Relativitätstheorie der Farbe. Farbe kann man nicht lehren, Interaction of Color ist ein Buch der Erfahrung mit der Farbe...\" (Zitat Wieland Schmid). Versand D: 7,00 EUR Kunst

      [Bookseller: Antiquariat Weinek]
 30.   Check availability:     buchfreund.de     Link/Print  


        A ce titre. Réponse au libelle de Charondas. Essai de catalogue de l?aristocratie française titrée contemporaine. Tomes I à LVII.

      Compédit Beauregard / Copie Edition 1973 - 1997, La Ferté-Macé / Paris, - 2060pages, nombreux tableaux généalogiques, Bel exemplaire. [Attributes: Soft Cover]

      [Bookseller: Bouquinerie du Varis]
 31.   Check availability:     AbeBooks     Link/Print  


        Byron's Letters and Journals 1798-1824. Edited by Leslie A Marchand. NEAR FINE SET IN UNCLIPPED DUSTWRAPPERS

      John Murray,, [1973-1994]. 12 vols., 8vo., First Edition, with coloured and monochrome frontispieces; original red cloth gilt, gilt backs, red tops, a near fine set in unclipped dustwrapper. Marchand's edition presents the complete and unexpurgated text of all the letters available in manuscript and the full printed text of all others. The set comprises Vol. I: In My Hot Youth 1798-1810; Vol. II: Famous in My Time 1810-1812; Vol. III: Alas! The Love of Women 1813-1814; Vol. IV: Wedlock's the Devil 1814-1815; Vol. V: So Late into the Night 1816-1817; Vol. VI: The Flesh is Frail; Vol. VII: Between Two Worlds 1820; Vol. VIII: Born for Opposition 1821; Vol. IX: In the Wind's Eye 1821-1822; Vol. X: A Heart for Every Fate 1822-1823; Vol. XI: For Freedom's Battle 1823-1824; Vol. XII: The Trouble of an Index. COMPLETE SETS ARE VERY SCARCE, ESPECIALLY IN THIS CONDITION

      [Bookseller: Island Books]
 32.   Check availability:     Biblio     Link/Print  


        Opera omnia. Graece et Latine. Band I bis V. Zusammen 5 Bände

       Olms Verlag, Hildesheim, 1973. Zusammen ca. 3.500 S., Leinen mit Goldprägung - Reprinte der Ausgaben Paris/neuwertig/original verlagsfrisch verschweißt - Versand D: 5,90 EUR Philosophie,Faksimiles

      [Bookseller: Celler Versandantiquariat]
 33.   Check availability:     buchfreund.de     Link/Print  


        Le chant de la carpe

      - Paris, Le Soleil Noir, 1973. In -8, pp. 104-(8). Brossura editoriale illustrata a risvolti. Edizione originale. Uno dei 300 esemplari su offset sirène firmati al colophon dall¿autore e dall¿editore contenenti la registrazione di Quart d¿heure de culture métaphysique su disco e una scultura di Piotr Kowalski realizzata in altuglass incisa e colorata sulle 2 facce e firmata alla punta d¿acciaio. Perfetto esemplare a fogli chiusi. Cofanetto. [Attributes: Soft Cover]

      [Bookseller: Libreria Antiquaria Freddi]
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        Brus, Günter. Die Schastrommel 8 (a, b, c). Brus Aktionen 64 - 70.

      Eigenverlag, Bolzano. 1973. - 4°. OKart. 179(2) S. Die Schastrommel 8a-c in einem Band. Mit handschriftlicher Notiz (Danke fürs Unterschriften sammeln) und Signatur von Günter Brus. Schönes Expl. [Attributes: Soft Cover]

      [Bookseller: Kunstkiosk im Helmhaus]
 35.   Check availability:     AbeBooks     Link/Print  


        The New Journalism.

      New York: Harper & Row, Publishers, 1973. First edition. Octavo, original cloth. Signed by Tom Wolfe on the title page and Norman Mailer at his contribution. Fine in a near fine dust jacket with a tiny closed tear to the front fold. Tom Wolfe introduces and exults in his generation's journalistic talent: Truman Capote inside the mind of a psychotic killer Hunter S. Thompson skunk drunk at the Kentucky Derby Michael Herr dispatching reality from the Vietnam killing fields Rex Reed giving the star treatment to the ageing Ava Gardner As well as Norman Mailer Joe Eszterhas Terry Southern Nicholas Tomalin George Plimpton James Mills Gay Talese Joan Didion and many other legends of tape and typewriter telling it like it is from Warhol's Factory to the White House lawn, from the saddle of a Harley to the toughest football team in the United States.

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
 36.   Check availability:     Biblio     Link/Print  


        Another Roadside Attraction

      London: W. H. Allen,, 1973. Octavo. Original pale purple boards, titles to spine gilt. With the pictorial dust jacket. An excellent copy in a lightly toned jacket. First UK edition, first impression. Inscribed by the author on the front free endpaper, "To James O'Roark, with those things that make the heat of life hottest. Onward, upward, backward, sideways and forever,Tom Robbins". Another Roadside Attraction, Robbins's first novel was first published in the US in 1972.

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


        Hügelige Waldlandschaft.

      - Feder und Pinsel in Grau, mit brauner Feder umrandet, auf Velin. 12,2:14 cm. Vergleichsliteratur: Eine sehr ähnliche Zeichnung von Bleuler, durch deren Vergleich mit unserem Blatt eine Bestimmung möglich wurde, besitzt das Städel Museum in Frankfurt, vgl. Katalog der deutschen Zeichnungen. Alte Meister. 3 Bde. München 1973, Nr. 616, Abb. Bd. II, Tafel 115 (Inv. Nr. 1944). Bleuler war als Landschaftszeichner, -maler und Kupferstecher tätig. Seine bedeutendsten und bekanntesten Werken sind Ansichten des Rheinfalls von Schaffhausen, die er in Gouache und als Aquatinten ausführte.

      [Bookseller: Galerie Joseph Fach GmbH]
 38.   Check availability:     ZVAB     Link/Print  


        Vecchia Trento.

      1973 - E’ morto a 92 anni l’ artista che immortalò Mussolini e Goebbels. Ma dal ’37 fu un antifascista in rivolta contro ogni potere Winkler, lo scultore di regime che divenne re della provocazione In un bronzetto aveva raffigurato il "critico d’ arte" col sedere piatto e la testa a forma di sciacquone mentre scrive vuote parole nell’ aria. L’ opera illustra con eloquenza il reciproco disamore fra la critica e Othmar Winkler, lo scultore altoatesino morto l’ altro ieri notte all’ ospedale Santa Chiara di Trento all’ eta’ di novantadue anni. Dalla vita burrascosa e solitaria appare chiaro che Winkler non ha fatto molto per guadagnare consensi. La sua ultima provocazione e’ del ’ 95. Invitato a una collettiva della Provincia di Trento, mando’ un "Enigma di Pinocchio" con appeso al naso del burattino un barattolo di feci personali per contestare la "degenerazione dell’ arte"; l’ opera gli venne respinta perche’ la "merda d’ artista" aveva gia’ avuto, nel 1961, il noto precedente di Piero Manzoni. Eppure ci fu un periodo, sette anni su novantadue, in cui Winkler fu lo scultore piu’ "ufficiale" che si possa immaginare: nel 1931, dopo aver visitato una sua mostra al Circolo della Stampa di Roma, Mussolini volle posare per lui (due ore al giorno per due settimane). Come d’ abitudine, l’ esempio del duce fu immediatamente seguito dai gerarchi: e Winkler scolpi’ i busti di Ciano, Teruzzi, De Bono, De Vecchi, Bottai, Marinetti e persino di Goebbels che ando’ a ritrarre fino a Berlino. Scultore di regime, dunque, e al piu’ alto livello. Ma un bel giorno, nel 1937, addio camicie nere. Il trentenne Othmar butto’ in strada i busti in gesso dei gerarchi, fuori dal suo studio romano di via XX Settembre, e prese il treno braccato dalla polizia. Fini’ a Oslo, dove frequento’ il pittore Edvard Munch e divenne antifascista, convinzione che si rinforzo’ l’ anno dopo quando, a Berlino, fu testimone degli orrori perpetrati dai nazisti contro gli ebrei nella "notte dei cristalli". Nel dopoguerra, il suo estro ribelle si diresse contro la classe dirigente ("i politici di oggi mi sembrano peggio di quegli altri, che se non altro avevano una corrusca grandezza" disse), in chiave soprattutto anticlericale, come quando raffiguro’ un cardinale in sella a un maiale, con la falce e martello sulla stola; oppure come quando le suore di Maria Bambina gli ordinarono una "Via crucis" e lui le ripago’ con i grattacieli e la locomotiva del Progresso che schiacciavano il Cristo, mentre la spada dell’ Anticristo era coperta da un ramoscello d’ ulivo. Allegorie bizzarre, se vogliamo contorte, indubbiamente eccentriche come il suo modo di essere ribelle e solitario, di volta in volta fascista e antifascista, anarchico e comunista, blasfemo e credente; che nel bene e nel male racchiude i tormenti di un secolo lungo quanto la sua vita. Cesare Medail. Firmato in basso a destra. Formato: Bronzo di cm 18x9,5. Buono, ordinari segni d’uso e del tempo.

      [Bookseller: Studio Bibliografico Adige]
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        ZET. Das Zeichenheft für Literatur und Graphik. Hefte 1-12 (1.-3. Jahrgang komplett).

      Heideleberg : Rothe 1973 (- 1975) - Mit den eingebundenen Originalgraphiken (nicht die Vorzusgausgabe) in Heft 1: Ackermann, Romant. Ensemble/ 2: Wewerka, Pyramiden und Ganoven/ 3: Grieshaber, Postschekkonto 414141/ 4: Meckel, Kerzenfigur/ 5: Schultze, Migof-Palaver (diese signiert)/ 6: Kalinowski, Ligature/ 7: Knoke, Luna/ 8: Ursula: ZET-Sehne (diese signiert)/ 9: Paolozzi, Vernis mou/ 10: Uecker, Nagelprägung 1975/ 11: Schoenholtz, Sitzendes Mädchen/ 12: Schmettau, Einwand// Beiligend: Mitarbeiterverzeicnis 1.-3. Jahrgang// Einbände lichtrandig, sonst sehr guter Zustand, alle Grafiken im Top-Zustand je Heft 48 Seiten, Illustrationen, Originalgrafiken Deutsch 4000g [Attributes: Soft Cover]

      [Bookseller: Krull GmbH]
 40.   Check availability:     ZVAB     Link/Print  


        Janssen, Horst. Missverständnisse.

      Christians Verlag, Hamburg. 1973. - 8°. OKart. unp. Leporello mit 24 farbigen Abbildungen von Zeichnungen und übermalten Postkarten von Fra Angelico, Leonardo, Michelangelo u. a.Originalumschlag von Horst Janssen monogrammiert und datiert. Für die Vorzugausgabe schuf Janssen drei Radierungen, die nebeneinander auf ein Blatt gedruckt wurden, welches dreifach gefaltet auf die Innenseite des vorderen Einbanddeckels montiert wurde. Die Radierungen mit dem Titel Artischocke als Miß Verständnis, Selbst zu Mißverständnissen und Phönix (alle vom 30.3.73) sind signiert und datiert. Auflage 90, dieses 40. Schönes Expl. in OKart. Schuber [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Kunstkiosk im Helmhaus]
 41.   Check availability:     ZVAB     Link/Print  


        Prometheus on His Crag

      U K Rainbow Press 1973 - Signed Limited Edition No 81 of 160.With a signed print by Leonard Baskin Bound In. Bound in full Purple Morocco by Zaehnsdorf. A Lovely Copy in Cloth Slipcase as issued [Attributes: Signed Copy; Hard Cover]

      [Bookseller: barnoble-books]
 42.   Check availability:     AbeBooks     Link/Print  


        ZET. Zeichenheft für Literatur und Graphik. 1. Jahrgang. Heft 2. Vorzugsausgabe.

      Heidelberg, Galerie Rothe, 1973,. - 36 S., 4°, blauer OKarton (lichtrandig). Mit einer ganzseitigen, eingebundenen Original-Radierung von Stefan Wewerka (Pyramiden und Ganoven, 1973). Mit dem graphischen Porträt von Peter Ackermann. Vorliegend die Vorzugsausgabe mit einer lose beigelegten, nummerierten (56/99) und signierten Original-Radierung von Alfred Hrdlicka (1928-2009). Spindler 164.2. Gutes Exemplar. Auflage: 99 (GA 1000) Exemplare. Good copy with one graphic arts by Stefan Wewerka and a handsigned, limited graphics by Hrdlicka. Sprache: Deutsch Gewicht in Gramm: 1000 [Attributes: First Edition; Soft Cover]

      [Bookseller: Uta-Janine Störmer]
 43.   Check availability:     ZVAB     Link/Print  


        Nicholas Ray at the Chateau Marmont: We Can't Go Home Again (Photographer's archive)

      New York: N.p., 1973. Archive of photographs and negatives, shot by and belonging to photographer Andy Romanoff, of director Nicholas Ray at work on his collaborative, experimental film "We Can't Go Home Again" at the Chateau Marmont in 1973. In addition to the material, sale of the archive includes complete ownership of republication and reproduction rights. In 1971, after nearly a decade outside the Hollywood establishment, Ray secured a two year teaching position at SUNY Binghamton's newly created film department. There, he began working with students on "We Can't Go Home Again," an experimental film in which Ray and the students play themselves, and which used a variety of film formats, found footage, cinema verité, and experimental editing techniques to explore the nature of teaching, the generation gap, and the art of filmmaking itself. Beginning in 1972, Ray began screening versions of the film at festivals, while continuing to edit it with the students. In preparation for the 1973 Cannes Film Festival, where the film would screen out of competition, Ray and several students rented a bungalow at the Chateau Marmont, where the director had once rehearsed "Rebel Without a Cause." Introduced through a friend, Andy Romanoff worked as a personal assistant to the director for the two weeks he was in California. It was during this time that Romanoff shot the photos in this archive, showing Ray and his students at work. Unfortunately, after screening at Cannes, the film's experimental nature caused some controversy within the SUNY Binghamton film department, and Ray's teaching contract was not renewed. He would continue to work on the film until his death in 1979, with the most definitive version being completed in 1976. The film was released on DVD and Blu-ray by Oscilloscope Laboratories (OSC-039) in 2012. Romanoff misplaced the negatives shortly after his two weeks at Chateau Marmont with Ray, and they remained lost until he discovered them in a pile of papers in 2011. He struck 10 of the 12 photos at that time, but other than a single, small exhibition in 2012, and a couple of images appearing briefly a montage sequence in "Don't Expect Too Much," Susan Ray's documentary on the making of the film, they remain largely unknown to the public, and have never been published. Nicholas Ray's importance to film is nearly inestimable. His films, a number of which are rightly considered classics, profoundly influenced both the French New Wave and New Hollywood Cinema, including directors Martin Scorsese, Wim Wenders, and Jean-Luc Godard, who once exclaimed in an interview: "the cinema is Nicholas Ray." However, Ray, a drug addict and alcoholic, was gradually shut off from the Hollywood film industry through the late 50s and early 60s. After collapsing on the set of "55 Days at Peking" (1963) and being removed from the production, Ray would never direct a major studio film again. Any material from his post-Hollywood life and career is rare. The archive includes: Ten photographs of Nicholas Ray and his students at work, each approximately 15 x 15 inches, archivally matted and framed to 21.5 x 22 inches. 12 negatives, cut into six strips of two each, containing the ten photos plus two others from the same shoot. One Polaroid, 4.5 x 3.5 inches, of Ray and a few students at in their room at the hotel. All the material is in Fine condition, and hi-res scans of each of the photos are included, along with the Blu-ray release of the film together with Susan Ray's documentary "Don't Expect Too Much." For more details, please inquire.

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

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