viaLibri ~ Rare Books from 1981

Nakashima, George [ SIGNED BY ] and Wald, George
        The Soul of a Tree A Woodworker's Reflections
      KODANSHA INTERNATIONAL, TOKYO, NEW YORK AND SAN FRANCISCO 1981 - Signed & dated by the author on front free endpages.Gift inscription from previous owner. Tight binding. No bookplate. Black and white drawings. Colored illustrations. Gold gilt on cover spine. General wear and rubbed cover/dust jacket. Dust jacket sun faded. No bookplate. DATE PUBLISHED: 1981 EDITION: FIRST ED 221 [Attributes: First Edition; Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]

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Optik - Schmitz, E.-H.:
        Handbuch zur Geschichte der Optik. 7 Bände.
      Bonn, Wayenborgh, 1981-, 1984.. 4°. 5 Bll., 450 SS.; 6 Bll., 465 SS.; XV, 400; -798 SS.; 8 Bll., 400; -859 SS.; 2 Bll., 370 SS.; mit zahlreichen Abbildungen Original-Leinen mit Schutzumschlag. Band 1-4 + Ergänzungsband I in insgesamt 7 Bänden. - Band 1: Von der Antike bis Newton. Band 2: Von Newton bis Fraunhofer. Band 3 a und b: Das XIX. Jahrhundert oder Vom Pröbeln zum Rechnen. Band 4 a und b: Der Schritt in das XX. Jahrhundert. Ergänzungsband I: Das Fernrohr. - Umschläge etwas berieben und bestoßen, sonst gut erhalten und sauber. - Sehr schwer, kein Versand in die Schweiz!! No shipping outside the EC!.

      [Bookseller: Antiquariat Thomas Rezek]

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LEHMANN-NITSCHE, Robert:
        Textos eróticos del Rio de la Plata. Ensayo lingüístico sobre textos sicalípticos de las regiones del Plata en español popular y lunfardo, recogidos, clasificados y analizados por el autor. Traducción directa del alemán del Licenciado Juan Alfredo Tomasini. Estudio preliminar por el Profesor Julián Cáceres Freyre. Notas críticas del Profesor Enrique Ricardo Del Valle, Buenos Aires, Librería Clásica, 1981.
      1981 - Grueso in-fol. menor.- xliii-375 (5) p.- Ilustrado con 5 xilografías originales de Norberto ONOFRIO.- Uno de los 150 ejemplares (núm. 30), de la tirada de cabecera para bibliófilos en papel Conqueror Plus, que conlleva las ilustraciones firmadas por el artista.- En rama; doble estuche de editor.- Estado de nuevo.- Primera edición en español. No creemos necesario llamar la atención del lector sobre la magnitud del rescate cultural que realiza Lehmann-Nitsche en esta obra, salvando definitivamente del olvido una principal parte de nuestras tradiciones folklóricas y costumbristas, totalmente ignoradas y despreciadas por su presunta vulgaridad por muchos de nuestros estudiosos. (De la Presentación del editor). [Attributes: Soft Cover]

      [Bookseller: Victor Aizenman (SLAM / ILAB)]

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Bremer, Uwe:
        Erlkönigs Tochter oder Uwe Bremers kleine Balladengalerie. 12 Balladen von Bürger, Freiligrath, Goethe u. a. Nachwort von Otto Breicha.,
      Gifkendorf, Merlin Verlag, 1981 - 81 S., 1 Bl. 12 ORadierungen von Bremer. Nr. XXI der Vorzugsausgabe von 25 röm. num. Ex. (GA 171 Ex.), im Druckvermerk vom Künstler num. und sign. Mit der separaten Folge der num., sign. und dat. Radierungen in OKartonmappe. - Spindler 7/20. Sprache: de Gewicht in Gramm: 550 4°, OPpbd. mit D.vignette in ORadierung von Bremer, in OPp.-Schuber (Deckel min. berieben)

      [Bookseller: Antiquariat Galerie Joy]

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        Förster, Wieland. - Labyrinth-Studie. - "Brücke".
      . Zeichnung / Tusche & Bleistift, partiell gewischt, 1981. Von Wieland Förster. 24,0 x 34,0 cm (Darstellung / Blatt) / 50 x 60 cm (Passepartout). Links unten in Bleistift signiert. Oben mittig in Tusche datiert "17. VIII. 81". Verso in Bleistift betitelt. - Im Passepartout montiert. Geringfügig fingerspurig. Sehr guter Gesamtzustand. Wieland Förster (*1930 Dresden, lebt in Berlin). Deutscher Bildhauer, Grafiker und Schriftsteller. 1944-46 Lehre als technischer Zeichner und Rohrleger. 1946-50 Zwangsarbeit in Bautzen. 1953-58 studierte er Bildhauerei an der Hochschule für Bildende Künste in Dresden bei Walter Arnold und Hans Steger. 1959-61 Meisterschüler an der Deutschen Akademie der Künste in Ost-Berlin bei Fritz Cremer. Danach freischaffend und viele Auslandsreisen. 1968-72 Ausstellungsverbot in der DDR. 1974 Mitglied der Ost-Berliner Deutschen Akademie der Künste. 1979-90 Vizepräsident der Deutschen Akademie der Künste. Seit 1985 ordentlicher Professor. 1996 Mitbegründer der Sächsischen Akademie der Künste in Dresden..

      [Bookseller: Galerie Himmel]

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PERCY, Walker
        Bourbon
      [Winston-Salem]: Palaemon Press. (1981). First. First edition. Tall octavo. Quarter cloth and decorated paper over boards. [12]pp. Publisher's full morocco gilt. Cocked, else near fine. Invoice from a bookseller (and possibly binder) to the publisher mentioning how these are bound and requesting credit in exchange for the binding. This is copy I of 50 roman numeraled copies Signed by the author. Provenance on request. .

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

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Rindler, W. [Wolfgang]
        On the Coordination of the Riemannian and Kinematic Techniques in Theoretical Cosmology. With Particular Reference to the Shift-Distance Law" in Monthly Notices of the Royal Astronomical Society, Volume 116, 1957, pp. 335-350
      - FIRST EDITION OF WOLFGANG RINDLER'S 'EVENT HORIZON' PAPER, a concept Alan Guth cites and employs as an important part of his 'Inflationary Universe' theory. Guth needed to solve what was known as 'the horizon problem' in order to further his theory. Guth explained the problem in his seminal 1981 paper: "The standard model of hot big-bang cosmology requires initial conditions which are problematic in two ways: (1) The early universe is assumed to be highly homogeneous, in spite of the fact that separated regions were causally disconnected (horizon problem) and (2) the initial value of the Hubble constant must be fine tuned to extraordinary accuracy (flatness problem)" (Guth 1981, 347). "By simply examining the horizon as a function of epoch, Rindler showed that as we go back in time, a smaller and smaller fraction of all of the photons in the universe could be observed. none was within the horizon. Thus as we go back in time a larger and larger fraction of the universe was unobservable, and since the particles could not communicate, there was no way to smooth out any irregularities. Thus we are forced to the conclusion that if the universe is homogeneous and isotropic now as we believe it is, this is because it was created this way. This. means that we must believe that this initial condition is a metaphysical construct. Many physicists reject metaphysical arguments, and this is where Guth's inflation comes in" (Iyer, Highlights in Gravitation and Cosmology, 230). By supposing the inflationary event lasted from 10 36 seconds after the Big Bang to sometime between 10 33 and 10 32 seconds, Guth was able to explain both flatness and isotropy (the flatness problem and the horizon problem). CONDITION & DETAILS: London: Royal Astronomical Society. "On the Coordination of the Riemannian and Kinematic Techniques in Theoretical Cosmology. With Particular Reference to the Shift-Distance Law" in Monthly Notices of the Royal Astronomical Society, Volume 116, 1957, pp. 335-350. Octavo (10.75 x 6.75 inches; 269 x 169mm). Full volume. Bound in blue cloth; gilt-lettered at the spine. Tightly and very solidly bound. Bright and clean inside and out. Underlined date on title page. Near fine condition.

      [Bookseller: Atticus Rare Books]

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Hirst, Michael
        Sebastiano Del Piombo
      Oxford at the Clarendon Press, Oxford 1981 - Ex university (Royal College of Art) library copy with paper label inside front board and bar-code label on f/ep, ink stamp on f/ep; minor creasing to top edge of unclipped dustwrapper, book smells a bit musty as if it has been kept in a garage or shed. Otherwise a good clean tight copy of this hard-cover book, part of the publisher's ''Oxford Studies in the History of Art and Architecture'' series, looking at the works of the Italian renaissance painter Sebastiano del Piombo. This was the first detailed assessment of del Piombo's work to have appeared in English. 175pp plus 144pp showing 204 b&w illustrations of the artist's work. Size: 4to - over 9¾" - 12" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Jim's Old Books]

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Gray, Nicolete
        PAINTED INSCRIPTIONS OF DAVID JONES.|THE
      London, England: Gordon Fraser, 1981. quarter cloth, marbled paper-covered boards, dust jacket. Jones, David. 4to. quarter cloth, marbled paper-covered boards, dust jacket. 113+(1) pages. First edition. Table of contents, preface, introduction, select bibliography, index of sources of quotations, index of inscriptions. Includes extracts from Jones's letters. A study of Jones's painted inscriptions, the first of this genre of Jones's work. Color and black and white illustrations throughout. With a catalogue of descriptions that includes 64 entries. Dust jacket slightly tanned. Very scarce book.

      [Bookseller: Oak Knoll Books/Oak Knoll Press]

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Rindler, W. [Wolfgang]
        On the Coordination of the Riemannian and Kinematic Techniques in Theoretical Cosmology. With Particular Reference to the Shift-Distance Law" in Monthly Notices of the Royal Astronomical Society, Volume 116, 1957, pp. 335-350
      FIRST EDITION OF WOLFGANG RINDLER'S 'EVENT HORIZON' PAPER, a concept Alan Guth cites and employs as an important part of his 'Inflationary Universe' theory. Guth needed to solve what was known as 'the horizon problem' in order to further his theory. Guth explained the problem in his seminal 1981 paper: "The standard model of hot big-bang cosmology requires initial conditions which are problematic in two ways: (1) The early universe is assumed to be highly homogeneous, in spite of the fact that separated regions were causally disconnected (horizon problem) and (2) the initial value of the Hubble constant must be fine tuned to extraordinary accuracy (flatness problem)" (Guth 1981, 347). "By simply examining the horizon as a function of epoch, Rindler showed that as we go back in time, a smaller and smaller fraction of all of the photons in the universe could be observed... none was within the horizon. Thus as we go back in time a larger and larger fraction of the universe was unobservable, and since the particles could not communicate, there was no way to smooth out any irregularities. Thus we are forced to the conclusion that if the universe is homogeneous and isotropic now as we believe it is, this is because it was created this way. This... means that we must believe that this initial condition is a metaphysical construct. Many physicists reject metaphysical arguments, and this is where Guth's inflation comes in" (Iyer, Highlights in Gravitation and Cosmology, 230). By supposing the inflationary event lasted from 10 36 seconds after the Big Bang to sometime between 10 33 and 10 32 seconds, Guth was able to explain both flatness and isotropy (the flatness problem and the horizon problem). CONDITION & DETAILS: London: Royal Astronomical Society. "On the Coordination of the Riemannian and Kinematic Techniques in Theoretical Cosmology. With Particular Reference to the Shift-Distance Law" in Monthly Notices of the Royal Astronomical Society, Volume 116, 1957, pp. 335-350. Octavo (10.75 x 6.75 inches; 269 x 169mm). Full volume. Bound in blue cloth; gilt-lettered at the spine. Tightly and very solidly bound. Bright and clean inside and out. Underlined date on title page. Near fine condition.

      [Bookseller: Atticus Rare Books]

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Tolliver, William
        CISTERN WORKERS".
      circa 1981-83., Lafayette: - Gouache on paper, measuring 40 x 48 inches. Double-framed in cream cloth under glass and blonde wood. Colorful image with a free-flowing geometricity evoking cubism of two men hoisting water from a brick-lined cistern . William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering Williams talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the citys building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of Americas most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.) [Attributes: Hard Cover]

      [Bookseller: Quill & Brush, member ABAA]

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Ionesco, Eugène:
        Le Blanc et le Noir.,
      St. Gallen, Erker, 1981 - 72 S., Druckvermerk, mit 15 OLithographien; alle Lithographien von Ionesco voll sign. Beigefügt eine Extra-Suite der Lithographien auf Bütten Zerkall in weisser Leinenmappe; diese num. (9/50), fortlaufend gezählt (von 1 - 15), von Ionesco voll sign. und jeweils mit dem Trockenstempel der Erker-Presse versehen. Vorsatz mit persönl. Widmung Ionescos, datiert 7.2.81, St. Gallen. Exemplar Nr. 9 von 50 (GA 200). Sprache: de Gewicht in Gramm: 1550 Gr.-8°, OLeinen mit R- und Deckelprägung (1 Band schwarz, 1 Band weiss), in OLeinen-Schuber

      [Bookseller: Antiquariat Galerie Joy]

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Bynner, Witter
        Bynner's Photographs of Lawrence
      Santa Fe: Great Southwest, 1981. #39 of only 50 copies. Elegantly bound in a black cloth photo album tied with a ribbon, in a matching black slipcase with the title on the end. Photos mounted on black paper. All text, hand-lettered in white ink, is on the title page, limitation page and 2 following pp. of captions for the photos. 25 in all, they are prints made from Bynner's original negatives, and chronicle the trip he took with the Lawrences to Mexico, described in his book 'Journey with Genius". All parts in fine condition.. First Edition. Hard Cover. Illus. by Witter Bynner photos.

      [Bookseller: Page One, Too; Antiquarian Books]

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MIYAKO ISHIUCHI
        Endless Night
      Asahi Sonorama 1981 - 4to.; illustrated in black-and-white throughout, interior pages are clean, pictorial wrapper, without slipcase else fine. As one of Miyako Ishiuchi's most important early books, Endless Night presents deceptively quiet images of an abandoned building near the American military base Yokosuka in Japan. The decrepit hallways and uninhabited interiors hint at the space's former use as a brothel. Ishiuchi's strength as a photographer is her ability to convey meaning through suggestion and Endless Night does this masterfully. [Attributes: First Edition; Soft Cover]

      [Bookseller: Ipy Books]

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SCIALOJA - PERILLI - STRAZZA -BOILLE - Drudi Gabriella
        Effigies tenuesque figurae
      Roma: Spatia, 1981. Edizione originale di 50 + X es. numerati. fogli sciolti in cartelletta (loose as issued in original portfolio). Ottimo (Fine). Cm 50x36. Testo di G. Drudi e 4 incisioni originali numerate firmate dagli artisti in 50 esemplari: Achille Perilli, acquatinta cm 30,5x21,5; Guido Strazza, acquaforte cm 17x20,5; Luigi Boille, acquatinta cm 35,5 x 25,8; Toti Scialoja, acquatinta cm 39x26,5 Le incisioni sono state stampate con torchio a mano da Renzo Romero (Perilli e Scialoja) e dalla Grafica dei Greci (Boille) e da Antonio Sannino (Strazza) su carta Magnani di Pescia

      [Bookseller: Studio Bibliografico MArini]

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BEATTIE, Ann
        Jacklighting
      Worcester: Metacom Press. 1981. First. First edition. Four volumes. Each volume has a cloth spine (two are of fine cloth, and two are coarse cloth), and each has a different style of papercovered boards. As new. Each volume is hand-labeled "trial binding" on the limitation page and numbered respectively: "1/4," "2/4," "3/4," or "4/4." Each volume is Signed by Ann Beattie. Presumably your only chance to own all of the trial bindings of this limited edition. From the collection of Carter Burden. .

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

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CARVER, Raymond
        What We Talk About When We Talk About Love
      New York: Alfred A. Knopf,, 1981. Octavo. Original dark blue cloth-backed blue boards, titles to spine and author's initials to front board gilt, publisher's device to rear board in blind. With the dust jacket. Edges of boards a little faded, light spotting to top edge of text block, small faint purple marks to top and bottom edges of front endpapers. An excellent copy in a bright jacket. First edition, first printing. Signed by the author on the front free endpaper and the title page. With the publisher's compliments slip loosely inserted.

      [Bookseller: Peter Harrington]

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Paul CLAUDEL
        Oda jubilar: Para el sexto centenario de la muerte de Dante.
      Paul CLAUDEL: Oda jubilar: Para el sexto centenario de la muerte de Dante. Buenos Aires, Dos Amigos, 1981-1982. 95p. 4h. Ilustrado con dos aguafuertes originales de Raúl Alonso tiradas en su prensa por Mirta Ripoll. Edición bilingüe francés-castellano traducida al castellano por Victoria Ocampo. Edición privada y fuera de comercio realizada por Juan Osvaldo Viviano y Samuel César Palui destinada a sus amigos. Ejemplar Nº 74/75 en papel Velin d?Arches de 160 grs. Composición tipográfica en caracteres Erasmus cuerpo 20. Rústica en rama. (25 x 33 cm).

      [Bookseller: Libreria del Signo]

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BARTLETT, Jennifer
        Chamber Music Society (SIGNED by Jennifer Bartlett: a Limited Ed. Silkscreen)
      Lincoln Center, N.Y. 1981 - This colored silkscreen/print is by Jennifer Bartlett; signed, dated 91, and numbered at bottom right margin; the typography (in the middle separating the two illustrations) was created by the artist for this print titled: "The Chamber Music Society of Lincoln Center"; limited edition to 144 numbered copies ( this is # 4); paper size with margins: 34-3/4 x 23-1/2 in, image: 32-1/2 x 21-1/2in; printed by Charles Cardinal; the top image is in b&w and the bottom is a colored image in red, blue, & yellow; the silkscreen has been matted to either hide the text or not (it would be the buyers decision); the printers water mark embossed at bottom left Charles Cardinal Serigraph Fine Creations, Inc.; sold with acid free matting and unframed; the print is matted on the verso with 3 pieces of Archival Linen Hinging Tape at top margins; a few small creases at the very bottom margin that is hidden with the front matt, otherwise overall in VERY GOOD COND. [Attributes: First Edition; Signed Copy]

      [Bookseller: DR FINE ARTS]

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ABBOTT, Jack Henry
        In the Belly of the Beast: Letters from Prison
      New York: Random House. (1981). Sixth printing. Introduction by Norman Mailer. Fine in a lightly worn, about fine dustwrapper. This copy Inscribed by Toni Morrison, an editor at Random House at the time of publication, to fellow author James Baldwin: "To Jimmy from Toni 11.10.82." Abbott, a life-long convict, presents his bleak view of the system. He was released from prison shortly after publication, after a campaign waged by the literati. Soon thereafter he stabbed a waiter to death, and returned to the warm bosom of his institutional hell. He died in prison in 2002. .

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

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        Drache, Heinz. - "Fischerboot".
      . Zeichnung / Tempera auf Papier, 1981. Von Heinz Drache. 61 x 81,5 cm (Darstellung / Blatt). Rechts unten signiert und datiert. Verso betitelt. - Nachlass Nr. 8932. - Gut erhalten. Heinz Drache (1929 Dresden - 1989 Radebeul). Deutscher Maler und Grafiker. 1948-53 Studium an der Hochschule für Bildende Künste Dresden (HfBK) bei Hans Theo Richter, Josef Hegenbarth, Fritz Dähn und Max Erich Nicola. Danach Aspirantur bei Heinz Lohmar. Ab 1953 freischaffend tätig. Mitglied des Verbandes Bildender Künstler der DDR. 1960-80 Gestalter beim DEFA-Trickfilmstudio in Dresden. Ab 1981 wieder freischaffend in Radebeul-Oberlößnitz. Neben Grafik und Malerei schuf er Wandgemälde u.a. für die Lagerhalle des VEB Kaffee und Tee, die Mittelschule Oberlößnitz und den Dresdner Kulturpalast. 1956 Kunstpreis der Stadt Dresden. 1973 und 1979 Goldene Lorbeer des Fernsehens der DDR. 1983 Kunstpreis der Stadt Radebeul..

      [Bookseller: Galerie Himmel]

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        Uhlig, Max. - "Zu Dritt".
      . Lithografie / Pinsellithografie, auf Hahnemühle-Bütten, 1981/1983. Von Max Uhlig. 54,5 x 65,9 cm (Darstellung / Stein) / 69,5 x 78,5 cm (Blatt). Oesinghaus 208. Rechts unten in Bleistift signiert und datiert, mittig betitelt "Gruppe zu Dritt" und links mit Auflagenbezeichnung. Am Blattrand links unten Wasserzeichen der Hahnemühle. - Blattrand mit marginalen Mängeln. Insgesamt sehr gut erhalten. Max Uhlig (*1937 Dresden, lebt und arbeitet in Dresden-Niederpoyritz). Deutscher Maler und Grafiker, namhafter Vertreter der Dresdner Kunst in der DDR. 1955-60 Studium an der Hochschule für Bildende Künste Dresden bei Hans Theo Richter und Max Schwimmer. 1961-63 Meisterschüler an der Deutschen Akademie der Künste zu Berlin bei Hans Theo Richter. Bis Mitte der 1970er Jahre ausschließlich als Grafiker hervorgetreten. 1968 druckgrafische Zusammenarbeit mit Carlfriedrich Claus, später auch mit Charlotte E. Pauly, Dieter Goltzsche, Willy Wolff, Otto Niemeyer-Holstein, Heinrich Ehmsen und Wilhelm Höpfner. Seine charakteristischen Gemälde präsentierte Uhlig erstmals 1978 im Kupferstichkabinett Dresden. Langjährige Professor für Malerei an der Hochschule für Bildende Künste in Dresden. Mitglied der Sächsischen Akademie der Künste. 1987 Käthe-Kollwitz-Preis der Akademie der Künste der DDR in Berlin, 1998 Hans-Theo-Richter-Preis und Sächsischer Verdienstorden, 2003 Kunstpreis der Landeshauptstadt Dresden..

      [Bookseller: Galerie Himmel]

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STYRON, William
        As He Lay Dead, a Bitter Grief
      New York: Albondocani Press. 1981. First. First edition. Fine in saddle-stitched self wrappers. Prospectus laid in. Copy letter C of 26 lettered copies Signed by the author. Reprints Styron's eulogy of Faulkner that originally appeared in Life magazine. Ray Roberts's copy, although not marked as such. Roberts was an influential editor with Viking, Henry Holt, and then Little, Brown, and he worked closely with John Fowles, Martha Grimes, Thomas Pynchon, and Jacqueline Kennedy Onassis. .

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

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MASSON AndrÃ©
        AndrÃ© Masson
      Torino: SEAT, 1981. Edizione originale di 3000 esemplari. Fogli sciolti in cartella (loose as issued in original cloth portfolio). Ottimo (Fine). Cartella (cm 55x40). 60 bellissime riproduzioni delle opere di Masson protette da carta-feltro trasparente, condotte direttamente sugli originali e realizzate in offset (cm 55x40). A cura di Carmine Benincasa. Scritti di Jean-Paul Sartre e Carmine Benincasa. Nota biografica e indice delle tavole Le carte speciali delle tavole e dei testi sono state appositamente fabbricate dalla cartiera Miliani di Fabriano

      [Bookseller: Studio Bibliografico MArini]

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