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Displayed below are some selected recent viaLibri matches for books published in 1981

        Cave Pictures. Drawings by Jonathan Lasker. Poetry by Everett Potter.

      - Düsseldorf und New York 1981. 18 S. mit 3 Original-Bleistiftzeichnungen von Jonathan Lasker auf Aquarellpapier. Original-Pappband von Ch. Zwang 37 x 28 cm. Eines von 25 Exemplaren. Im Druckvermerk von Lasker und Potter voll signiert. Tadelloses Exemplar. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Stefan Küpper]
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        Belle correspondance de Norman Mailer sur son possible prix Nobel.

      - 6 lettre autographe signée (1) et lettres dactylographiées signées (5) 6 In-4 1981-2006 Enveloppes. bon Belle correspondance de Norman Mailer, évoquant son voyage à Paris "my favorite city" et ses chances d'être lauréat du prix Nobel de littérature.« I think my chances of receiving such an award are modest. From what I've heard of the commettee, that is. But I confess it is agreeable to me that you took the trouble [.] ». Au sujet de son style et de son écriture. « Let me answer your request by sending you a sentence, not from my most recent book, The Castle in the Forest (which I hope has plenty of good sentences), but from the one that gives me the most pleasure in remembrance and that is the first sentence of The Naked and the Dead : « Nobody could sleep ». I always felt that was a gift from somewhere outside myself since it certainly put the novel into full narrative speed whith three short words ». Il recopie également pour son correspondant plusieurs lignes de Menenhetet. Ecrivain américain, deux fois lauréat du Prix Pulitzer.

      [Bookseller: Traces Ecrites]
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        Korec Johann und Die Silvia Zak. Orig.-Filzstiftzeichnung auf weissem Papier.

      21 x 14.5 cm, Tadellos Seit 1981 bewohnt Johann Korec (1937-2008) mit Johann Garber und Heinrich Reisenbauer ein gemeinsames Zimmer im Haus der Künstler. Über seinem Bett hängen einige seiner Werke und viele Fotos, die er teilweise selbst gemacht und teilweise geschenkt bekommen hatte. Sie zeigen seine Familie und ihn selbst auf seinen Reisen oder gemeinsam mit einer seiner Freundinnen.In den 70er Jahren beginnt Johann Korec mit dem Abzeichnen von Abbildungen in Zeitungen und Illustrierten. Im Laufe der Jahre entwickelt er seinen eigenen Stil. Er arbeitet meist mit Tusche und Aquarellfarben, sein bevorzugtes Material ist Büttenpapier in verschiedenen Formaten. Im oberen Teil des Blattes stellt er eine Szene mit Tusche dar. Das so Dargestellte wird im unteren Teil des Blattes kommentiert - alles geschieht langsam und bedächtig. Abschließend koloriert er den oberen Teil seiner Arbeit mit Aquarellfarben, welche sich auf dem Büttenpapier wunderbar vermischen. Seine Mal- und Zeichenwerkzeuge sind deutlich erkennbar. Die von ihm verwendeten Federn spreizen sich nach nur wenigen Malen und lassen keinen festen Strich mehr zu, Pinsel bestehen oft nur noch aus zwei bis drei Haaren - er benützt sie immer noch. Oft zeichnet er in der Galerie der Künstler aus Gugging auf einem großen Tisch. Dort hat er seinen "Malkoffer", in den er nach Beendigung seiner Arbeit alle benötigten Malutensilien wieder einräumt. Immer wieder fertigt er in einem Nebenraum der Galerie auch große Leinwände an. Korec ist in der Lage, das von ihm kleinformatig Dargestellte auch ins Große zu übersetzen. Dies geschieht vornehmlich mit Handschuhen Korec mag es nicht, wenn die von ihm häufig zu dünn angerührte Acrylfarbe vom Pinsel zurück auf die Hand rinnt. Zeichnet Korec nicht, so sitzt er oft rauchend im Haus der Künstler unter einer seiner Leinwände, die sich gegenüber dem Eingang befinden. Besucher werden also meist als erstes von ihm begrüßt, wobei er dabei Frauen bevorzugt behandelt.Gemeinsam mit den anderen Künstlern aus Gugging wird ihm 1990 der Oskar-Kokoschka-Preis verliehen. Seine Werke sind unter anderem in der Sammlung Infeld, der Sammlung Bönningheim sowie in der Arnulf Rainers vertreten, zu sehen sind sie im Setayaga Art Museum Tokio, dem Philadelphia Art Museum, dem Landesmuseum Niederösterreich sowie anderen renommierten Häusern.

      [Bookseller: antiquariat peter petrej]
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        Bemerkungen. Mit einer Extra-Suite der von Sundberg signierten Radierungen auf Japan. Übertragen von Bernhard Böschenstein, Hans Staub und Peter Szondi.

      Neu-Isenburg, Edition Tiessen, 1981. 31 unpag S. m. 10 ORadierungen v. Sundberg (1 davon auf dem Umschlag). u. 10 lose beil. num. u. sign. ORadierungen in OMappe. OBrosch. OFolienumschlag und OMappe in OSchuber 23,4 x 16,8 cm. 19. Druck der Edition Tiessen. Eins von 45 röm. num. u. v. Sundberg im Druckvermerk sign. Exemplaren (gesamt 135). Dieses Exemplar trägt die Nr. I. Tadelloses Exemplar.

      [Bookseller: Antiquariat Stefan Küpper]
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        Israel: Poems on a Hebrew Theme

      Steam Press, London 1981 - Two volumes,limited to 98 copies, signed by Sillitoe and Steadman. This is copy #6. Vol. 1: poems by Sillitoe. Vol. 2: sketches by Ralph Steadman of Israeli people, landscapes and street scenes. Both volumes bound into an outer black cloth-covered cover that folds open with volume one opening from right to left and volume two left to right. Gilt spine lettering. In dark blue publisher’s slipcase. Fine. (1722RO091) [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Boojum and Snark Books]
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        Visions of the Universe

      Montrose: The COSMOS Store, 1981. First. hardcover. very good(+)/very good. Iwasaki, Kazuaki. Preface by Carl Sagan. Illustrated throughout in color. xiii + 46 pages. Oblong 4to, blue boards with silver stamping, dust wrapper. Montrose: The COSMOS Store, a division of Carl Sagan Productions, Inc., (1981). First edition. A very good(+) copy in a very good dust wrapper. Preface by Carl Sagan. Illustrated throughout in color. xiii + 46 pages. Oblong 4to, blue boards with silver stamping, dust wrapper. Montrose: The COSMOS Store, a division of Carl Sagan Productions, Inc., (1981). First edition. A very good(+) copy in a very good dust wrapper.

      [Bookseller: Argosy Book Store]
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        A Primer Of Birds : Signed By Ted Hughes And Leonard Baskin

      The Sole UK Printing published by The Gehenna Press in 1981. Number 170 of only 250 printed on hand made paper. The BOOK is in near Fine condition with just a slight mottling of the endpapers in places. Hughes' collection of poetry enhanced with seven woodcuts by Leonard Baskin including one coloured woodcut. Signed by both Hughes and Baskin to the limitation page. A wonderful production and increasingly scarce. More images available on request. Ashton Rare Books welcomes direct contact

      [Bookseller: Ashton Rare Books ABA, PBFA, ILAB]
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        Naumburg/ Saale von Süden

      unbekannt 1981 - Sprache: Deutsch Gewicht in Gramm: 500 Pastelltechnik, (38,5 cm x 31 cm), unten links signiert, unter Glas gerahmt (leicht wellig)

      [Bookseller: Celler Versandantiquariat]
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        Midnight's Children

      First edition, first printing of the Booker Prize winning novel. Signed by the author. Printed by Jonathan Cape but using American sheets. Maroon and silver boards. Fine in near fine, but typically spine faded dustjacket.

      [Bookseller: TIMKC Books]
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        The Ionian Mission

      London: Collins, 1981. A first edition, first printing published by Collins in 1981. A near fine book without inscriptions with some light spotting to the endpapers. In a near fine unclipped wrapper with some spotting to the endflaps. Rare Aubrey/Maturin novel.

      [Bookseller: John Atkinson Books]
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        JUMANJI

      Boston: Houghton Mifflin, 1981. First Edition. Hardcover. Near fine/near fine. Oblong 4to. Original green cloth in DJ. Near fine in a like jacket. Jacket bright and sharp with just small closed tear to rear panel. Unclipped. Book has bump to one edge. Else clean and sound. REVIEW COPY, with slip loosely laid in. First edition (no sticker, full number line) of this Caldecott-winning picture book, adapted into the movie of the same name starring Robin Williams. Van Allsburg's second book.

      [Bookseller: Brian Cassidy, Bookseller]
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        THEATRUM CHIMICUM. Argentorati 1659-1661. Introduzione di Maurizio Barracano. Praecipuos selectorum auctorum tractatus de chemiae et lapidis philosophici antiquitate, jure, praestantia et operationibus, continent.

      Torino, Bottega d'Erasmo, 1981. - 6+1 forts vol. in-8 br., XXXVIIIpp.; 794pp.-[14]ff.; 549pp.-[3]ff.; 859pp.-[6]ff.; 1014pp.-[17]ff.; 912pp.-[15]ff.; 772pp.[13]ff. Texte en latin et introduction en italien. 3 pl. h-texte en noir, 6pl. dépliantes, nbreuses gravures in et h-texte. Légers frottements aux coiffes, très petite tâche d'encre sur la couv. du T.1, très bon état d'ensemble. Réimpression anastatique de l'édition de 1659. Le Theatrum chemicum (« Théâtre chimique »), est le plus important et le plus célèbre recueil de traités alchimiques de la Renaissance. Écrit en latin, la langue savante européenne de l'époque, et publié pour la première fois en trois volumes en 1602 par l'éditeur et imprimeur strasbourgeois Lazare Zetzner, il atteint six volumes et rassemble plus de deux cents traités dans la dernière édition de 1659-1661. Réf. bibliographiques : BRUNET, V-773 / CAILLET, 10598. [Attributes: Soft Cover]

      [Bookseller: Librairie Le Trait d'Union sarl.]
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        St. Pauls-Kirche im BerlinerOrtsteilGesundbrunnendesBezirks Mitte. Farbiges Aquarell und Faserstift auf Büttenpapier, rechts unten mit *Kohlhoff (19)79 * signiert und datiert.

      Blattmaß ca. 42 x 60 cm ( Höhe x Breite ). Farbiges Aquarell auf Büttenpapier, rechts unten mit *Kohlhoff (19)79 * signiert und datiert. Gezeigt wird die St. Pauls-Kirche im BerlinerOrtsteilGesundbrunnendesBezirks Mitte, eine der vier Schinkelschen Vorstadtkirchen in Berlin die alle einen ähnlichen Bauplan aufweisen. Das Aquarell von guter Erhaltung. Walter Kohlhoff ( *1906Berlin 1981 ebenda ). W. Kohlhoff war über 20 Jahre lang Vorstandsmitglied des Vereins Berliner Künstler. Maler urbaner Landschaften Berlins und seiner Umgebung. Kohlhoff zeigt seine Stadtbilder menschenleer und verleiht ihnen somit teils einen denkmalhaften Charakter. In seinen Arbeiten wendet er sich vor allem den ruhigen Orten der Großstadt wie auch Hinterhöfen, Großstadtdächern und abgelegenen Arealen wie Seitenstrassen, Kleingärten, Bahngleisen, Fabrikanlagen etc.. Er malte im Rahmen einer späten Neusachlichkeit. Dies gilt auch für seine anderen Motive wie Bilder aus den Alpen, Landschaftsstudien, Stilleben. Ferner malte er Porträts, Selbstporträts und Aktzeichnungen. ( Weitere Bilder auf Anfrage further pics at request ) ( Artikelnumer 15776 )

      [Bookseller: Antiquariat Friederichsen]
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        St. Pauls-Kirche im BerlinerOrtsteilGesundbrunnendesBezirks Mitte. Farbiges Aquarell auf Papier, unsigniert, undatiert.

      Berlin - Blattmaß ca. 42 x 60 cm ( Höhe x Breite ). Farbiges Aquarell auf stärkerem Papier ( wohl Büttenpapier ). Gezeigt wird die St. Pauls-Kirche im BerlinerOrtsteilGesundbrunnendesBezirks Mitte, eine der vier Schinkelschen Vorstadtkirchen in Berlin die alle einen ähnlichen Bauplan aufweisen. Das Aquarell von guter Erhaltung. >>>Walter Kohlhoff ( *1906Berlin&#150; 1981 ebenda ). W. Kohlhoff war über 20 Jahre lang Vorstandsmitglied des Vereins Berliner Künstler. Maler urbaner Landschaften Berlins und seiner Umgebung. Kohlhoff zeigt seine Stadtbilder menschenleer und verleiht ihnen somit teils einen denkmalhaften Charakter. In seinen Arbeiten wendet er sich vor allem den ruhigen Orten der Großstadt wie auch Hinterhöfen, Großstadtdächern und abgelegenen Arealen wie Seitenstrassen, Kleingärten, Bahngleisen, Fabrikanlagen etc. Er malte im Rahmen einer späten Neusachlichkeit. Dies gilt auch für seine anderen Motive wie Bilder aus den Alpen, Landschaftsstudien, Stilleben. Ferner malte er Porträts, Selbstporträts und Aktzeichnungen.<<< ( Weitere Bilder auf Anfrage &#150; further pics at request ) ( Artikelnumer 15795 ) [Attributes: Hard Cover]

      [Bookseller: Antiquariat Friederichsen]
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        A la vue des Nippons, douze contrepèteries

      Editions nomades, Genève 1981 - In-8 en feuilles, sous chemise Arches recouverte de Kaji-kami (mûrier) fait à la main, gravure rouge au dos, étui crème. Illustré de 25 eaux-fortes de Thierry Bourquin, à savoir: 12 miniatures (2,5 x 2,5 cm) au vernis mou, qui illustrent le sens premier des contrepèteries et 12 eaux-fortes au vernis mou et aquatintes couleurs, imprimées sur Kaji-kami (mûrier), contrecollées. Une 25e (miniature) accompagne une 13e contrepèterie manuscrite au justificatif. L&#146;impression a été réalisée au Centre Genevois de Gravure Contemporaine. Tirage total à 25 exemplaires, celui-ci un des 15 (le 15!) courants, numérotés en arabe. Exemplaire agrémenté encore d'un envoi autographe signé de l'artiste. Etui un brin poussiéreux, pour le reste en parfaite condition. Magnifique, drôle et introuvable. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: La Bergerie]
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        Six Labyrinths. Verschiedene Techniken. Radierung mit verschiedenen Techniken, Aquatinta

      unbekannt 1981 - Sprache: Deutsch Gewicht in Gramm: 500 Maße 101 cm x 70 cm. Breiträndiges Exemplar. Blatt 1 von 80 numerierten Blättern. Unten rechts origina signiert "Tilson 1977". (am Rand 2 Tuscheflecken)

      [Bookseller: Celler Versandantiquariat]
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        Marianne des grands ormes

      France empire, 1981. poche Poche

      [Bookseller: Book in East]
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        Holly.

      [Loughcrew:] Privately printed by Peter Fallon for the author, 1981 - Octavo. Original green paper wrappers, title to front wrapper in black, single sheet sewn in with red thread. A fine copy. First edition. Presentation copy inscribed by the author on the initial blank: "For Philip and Valerie, with good wishes for Christmas, Seamus, 23rd December 1981, in Booterstown". One of 121 copies printed for use by Heaney as his Christmas card for 1981. Very scarce. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Minotaure.

      Albert Skira, Genf 1981 - Revue artistique et littéraire. N° 1, 1933 - N° 12/13, 1939. [L`édition en fac-similé]. 3 Bände. Mit zahlreichen teils farbigen Abbildungen. Original-Leinenbände mit farbigem Schutzumschlägen. Sehr gut erhalten. Reprint der Hefte 1-12/13 der berühmten surrealistischen Zeitschrift »Minotaure«. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Schaper]
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        Bunny Rogers Amethyst Party at his home in Holland Park. Bryan Ferry with his girlfriend Lucy. 09/06/1981.

      745 x 520mm. Giclée Print using Archival pigment inks on Hahnemüle Fine Art Pearl 285gsm paper. Limited edition of 10 numbered copies signed by the photographer. Alan Davidson is a press photographer based in London for more than 30 years, Alan has photographed the rich, the famous, the before-they-were-famous to those that have fallen from grace. Going through his vast archive, with new treasures found within the old brown manilla envelopes, reads like a who's who of the great and good (and the very bad) of London society. Cinema stars rub shoulders with pop stars, royalty with politicians. Working from the late 1960s to the present day Alan remembers the days before celebrities became surrounded by 30 young publicists and before there were 50 photographers at every event you went to, allowing him to take intimate and relaxed portraits, unlike the anodyne syndicated press shots of today.

      [Bookseller: Henry Sotheran Ltd.]
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        The Fortunate Traveller [Inscribed to Mark Strand]

      NY: Farrar Straus Giroux. (1981). The uncorrected proof copy of this collection of poetry by Walcott, a West Indian author of poetry and plays who won the Nobel Prize for Literature in 1992. This copy is inscribed by Walcott to the poet Mark Strand: "To Mark - continuing strength/ Derek." With Strand's ownership signature beneath. One of the poems in this collection, "Piano Practice" is individually dedicated to Strand. It is printed here in the proof as it appeared in The Kenyon Review in 1980, but changes were made between this and the published version, and laid in here are two photocopies of the proof version showing two versions of Walcott's revisions (in the hand of a copy editor?). The photocopies are stapled and folded in thirds; the proof is near fine in wrappers. Strand was Poet Laureate of the U.S. the year Walcott won his Nobel Prize; Strand also won the Pulitzer Prize for Poetry in 1999, for his collection Blizzard of One, which contained the poem "The View," dedicated to Walcott. A superb literary association between two of the preeminent poets of the 20th century. First Edition. Softcover. Near Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA]
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        The Nuclear Age

      Portland: Press-22, 1981. Fine. First edition, wrappered issue. Fine in wrappers. A limited edition of an excerpt from O'Brien's work-in-progress at the time, later published with the same title. Of an edition of 125 numbered copies in wrappers and signed by the author, this is Signed but unnumbered, and is stamped "proof set". Very scarce, possibly unique. Although not marked in any way, this copy is from the distinguished modern first edition collection of Bruce Kahn.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Gesammelte Reiseerzählungen. 33 Bände. Reprint-Edition der "Freiburger Erstausgaben" herausgegeben von Roland Schmidt

      unbekannt 1981 - Neuwertig, ungelesen. Die meisten der 33 Bände enthalten Nachträge der Nachworte - Sprache: Deutsch Gewicht in Gramm: 17500 Karl-May-Verlag, Bamberg, 1982-1984. zus. ca. 19.500 S., original Kunsthalbleder mit dunkelgrünem Rückenschild mit Goldprägungen

      [Bookseller: Celler Versandantiquariat]
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        Portrait de Frank Auerbach. Photographie Originale de l'artiste

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Trace tape and white part torn in places.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Taken from the front, with a look at the subject directed towards the lens, the photographs that Marc Trivier realizes personalities of the 1980s are not those of a star portraitist, but result on the contrary from a desire to desacralize:"Instead of being a portraitist of writers and artists among many others, he is marginalized by his device: under the pretext of adjustments, he makes his models wait, he makes them ask several minutes which gives them a weary air. He may be waiting for a more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less packed in their chair. Intimate images. ". (A picture of tifoxing Marc Trivier, S. Rousselle-Tellier, in Marges, 2004)Photographed in their personal universe, most of the time their room, the subjects surrender themselves, no longer master their image. The imbalance that results reveals the fragility of these strong personalities, and allows Trivier to restore the unity of the intimate body and the public work."I read Genet; for me Genet, it was letters on a book. And then one day I saw his portrait, it was like a fracture. How was it possible that these signs are also someone? To make a portrait is to tie up the name and the face. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1981 24x24 cm sur papier Ilfordune feuille

      [Bookseller: Librairie Le Feu Follet]
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        Verso il giorno Meditazioni mattutine trasmesse da Radio 2 della Rai

      Città del Vaticano: LIBRERIA EDITRICE VATICANA, 1981. IED. Brossurato. BUONO. 12 19. Pastorale USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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        Borges en/y/sobre cine (Ensayo) (Spanish Edition)

      Editorial Fundamentos 1981 - Ammareal reverse jusqu'à 15% du prix net de ce livre à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Ammareal gives back up to 15% of this book's net price to charity organizations. [Attributes: Soft Cover]

      [Bookseller: Ammareal]
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        The Matsuri- Kirie, a Japanese Art

      Big Co., Ltd., Tokyo, Japan 1981 - Excellent condition with no markings. Possibly signed by author on first few pages. Image available on request. "On a Festival Day In Japan" In plastic cover for extra protection. [Attributes: Hard Cover]

      [Bookseller: Q's Books]
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        Hefte der Edition Hundermark.

      8. Jeweils ca 16 S. OBroschuren. 10 Hefte in OPappschuber mit montiertem Titelschildchen. Schuber minimal gebraucht, Heft 10 untere Ecke gering gestaucht. Sonst sehr schön. Erste Ausgaben, nur Heft 1 in zweiter Auflage. Vorzugsausgabe, Nr. 16 von 80 Exemplaren des Sammelbandes. * Enthält: 1: Endre Tot, TOTal questions by TOT (1981, Gesamtauflage 600 Exemplare, von TOT signiert). 2: Jiri Valoch, 12 exercises (1976, GA 300 Ex.). 3: George Macunias, Flux paper events. (1976, GA 500 Ex.). 4: Bernhard Johannes Blume, Einige halluzinative Schraffuren. (1978, GA 300 Ex., von Blume signiert). 5: C. Böhmler, Erdkunde. (1979, GA 300 Ex., von Böhmler signiert). 6: Peter Pick, Physiognomie von Krankheiten. (1980, GA 300 Ex., von Pick signiert). 7: Rudolf Bonvie, La chasse photographique est ... . (1980, GA 300 Ex., von Bonvie signiert). 8: Al Hansen, Performance. (1981, GA 500 Ex., von Hansen signiert). 9: Henri Chopin, Typewriterspoems (1982, GA 500 Ex., von Chopin signiert). 10: Joe Jones, Five Bells (1982, GA 500 Ex., von Jones signiert - untere Ecke gering gestaucht). 8 der Hefte signiert.

      [Bookseller: wetterfahne]
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        En lisant en écrivant

      - José Corti, Paris 1981, 12x19cm, broché. - Edition su carta corrente. L'invio autografo firmato e datato Gracq scultore e pittore Raymond Mason. note manoscritte del dedicatario, a matita, l'ultimo guardia e posteriore del secondo corso nei suoi occhi. Un piccolo strappo in piedi incollate posteriore leggermente decolorate.   - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant. Envoi autographe daté et signé de Julien Gracq au sculpteur et peintre Raymond Mason. Annotations manuscrites du dédicataire, au crayon de papier, sur la dernière garde et le verso du second plat en son regard. Une petite déchirure recollée en pied du dos très légèrement décoloré.  

      [Bookseller: Librairie Feu Follet]
 29.   Check availability:     maremagnum.com     Link/Print  


        Portrait de Willem De Kooning. Photographie Originale de l'artiste

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Taken from the front, with a look at the subject directed towards the lens, the photographs that Marc Trivier realizes personalities of the 1980s are not those of a star portraitist, but result on the contrary from a desire to desacralize:"Instead of being a portraitist of writers and artists among many others, he is marginalized by his device: under the pretext of adjustments, he makes his models wait, he makes them ask several minutes which gives them a weary air. He may be waiting for a more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less packed in their chair. Intimate images. ". (A picture of tifoxing Marc Trivier, S. Rousselle-Tellier, in Marges, 2004)Photographed in their personal universe, most of the time their room, the subjects surrender themselves, no longer master their image. The imbalance that results reveals the fragility of these strong personalities, and allows Trivier to restore the unity of the intimate body and the public work."I read Genet; for me Genet, it was letters on a book. And then one day I saw his portrait, it was like a fracture. How was it possible that these signs are also someone? To make a portrait is to tie up the name and the face. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1981 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 30.   Check availability:     Direct From Seller     Link/Print  


        Portrait de André Masson. Photographie Originale de l'artiste

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Taken from the front, with a look at the subject directed towards the lens, the photographs that Marc Trivier realizes personalities of the 1980s are not those of a star portraitist, but result on the contrary from a desire to desacralize:"Instead of being a portraitist of writers and artists among many others, he is marginalized by his device: under the pretext of adjustments, he makes his models wait, he makes them ask several minutes which gives them a weary air. He may be waiting for a more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less packed in their chair. Intimate images. ". (A picture of tifoxing Marc Trivier, S. Rousselle-Tellier, in Marges, 2004)Photographed in their personal universe, most of the time their room, the subjects surrender themselves, no longer master their image. The imbalance that results reveals the fragility of these strong personalities, and allows Trivier to restore the unity of the intimate body and the public work."I read Genet; for me Genet, it was letters on a book. And then one day I saw his portrait, it was like a fracture. How was it possible that these signs are also someone? To make a portrait is to tie up the name and the face. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1981 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 31.   Check availability:     Direct From Seller     Link/Print  


        Portrait de Bran Van Velde. Photographie Originale de l'artiste

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Small tear on the upper edge and stain on the white part of the photograph.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Taken from the front, with a look at the subject directed towards the lens, the photographs that Marc Trivier realizes personalities of the 1980s are not those of a star portraitist, but result on the contrary from a desire to desacralize:"Instead of being a portraitist of writers and artists among many others, he is marginalized by his device: under the pretext of adjustments, he makes his models wait, he makes them ask several minutes which gives them a weary air. He may be waiting for a more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less packed in their chair. Intimate images. ". (A picture of tifoxing Marc Trivier, S. Rousselle-Tellier, in Marges, 2004)Photographed in their personal universe, most of the time their room, the subjects surrender themselves, no longer master their image. The imbalance that results reveals the fragility of these strong personalities, and allows Trivier to restore the unity of the intimate body and the public work."I read Genet; for me Genet, it was letters on a book. And then one day I saw his portrait, it was like a fracture. How was it possible that these signs are also someone? To make a portrait is to tie up the name and the face. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1981 40x40cm sur papier Ilford 50x60cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 32.   Check availability:     Direct From Seller     Link/Print  


        Portrait de Frank Auerbach. Photographie Originale de l'artiste

      Large original photographic portrait in black and white directed and shot by Marc Trivier.Unsigned silver print, like most of Trivier's works. Unique proof drawn by the artist.Photographs of artists, madmen, trees or slaughterhouses, Marc Trivier approaches all these subjects with a look as precise as intense."In its cosmogony, every thing, every being, vegetable, animal or human, deserves the same respect. For all are confronted with the same law of brass: loneliness. (Luc Desbenoit)The beauty that emanates from his photos comes from this nudity. There is no editing or cropping. We find in his work the same square format that traps our eyes in photographs where the makeup of color is rejected for an incisive black and white. Since all artificiality has disappeared, we are not dealing with the staging of a subject but with a presence exacerbated by the radiant and singular light, witness of a moment of life and not of pose. It is this light, linked to and obsessed with Trivier's medium, that gives his works the aura that makes them so present:"Of thirty-five years of photographic practice, of obsessions, it is perhaps that which remains: a singular mode of recording of the burning of light, declined from one image to another, in a succession propositions that are similar and yet each is as singular as the fraction of time to which it refers. (Marc Trivier)Taken from the front, with a look at the subject directed towards the lens, the photographs that Marc Trivier realizes personalities of the 1980s are not those of a star portraitist, but result on the contrary from a desire to desacralize:"Instead of being a portraitist of writers and artists among many others, he is marginalized by his device: under the pretext of adjustments, he makes his models wait, he makes them ask several minutes which gives them a weary air. He may be waiting for a more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less packed in their chair. Intimate images. ". (A picture of tifoxing Marc Trivier, S. Rousselle-Tellier, in Marges, 2004)Photographed in their personal universe, most of the time their room, the subjects surrender themselves, no longer master their image. The imbalance that results reveals the fragility of these strong personalities, and allows Trivier to restore the unity of the intimate body and the public work."I read Genet; for me Genet, it was letters on a book. And then one day I saw his portrait, it was like a fracture. How was it possible that these signs are also someone? To make a portrait is to tie up the name and the face. (Marc Trivier)Warhol, Foucault, Beckett, Dubuffet ... the greatest writers and artists have posed for Trivier. At the same time, the artist is also interested in the margins of society, which men do not want to see. He then photographs the lunatics and slaughterhouses he places next to celebrities. By the end of the 1980s his work was unanimously recognized and he received the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris and the Musée de l'Elysée in Lausanne, the Casino in Luxembourg, the European House of Photography in Paris devotes a major retrospective to him in 2011. Par l'auteur s.l. 1981 18x18cm sur papier Ilford 24x30 une feuille

      [Bookseller: Librairie Le Feu Follet]
 33.   Check availability:     Direct From Seller     Link/Print  


        Beertje Bombazijn. (Met een 'woordje vooraf' door Dick Hosselaar [= W.F. Hermans]). (Archiefexemplaar met 11 van de 12 bladen).

      Amsterdam, De Literaire Loodgieters, 1981. 15,0 x 15,0 cm. Leporello. (11) p. Met de hand gezet en gedrukt op karton in een oplage van 'maximaal 50 [= (volgens DLL:) 43 of (volgens JS:) 49] exemplaren'. 1e druk.l Prachtig 'kinderboek' van Hermans, een fragment uit de iets eerder verschenen roman Uit talloos veel miljoenen, gedrukt en gebonden in de Drukwerkplaats Ewald Spieker, naar typografie van Pierre Roth en met indrukwekkende typografische illustraties van Lionel Prent [= Ewald Spieker]. Deze uitgave haalde zelfs de kranten. NRC schreef dat het boekje niet te koop was: 'Spieker spreekt van een goed uitgevoerde grap. Roth is afgelopen weekend dertig exemplaren naar W.F. Hermans in Parijs gaan brengen'.Dit archiefexemplaar telt helaas 11 van de 12 vierkante pagina's: de pagina met de tekst 'Ja die Beertje Bombazijn/ Die vond het leven fijn' ontbreekt.DLL 7. JS 367.

      [Bookseller: Antiquariaat Fokas Holthuis]
 34.   Check availability:     booklooker.de     Link/Print  


        Colonel Heros von Borcke's Journal 26 april-8 October 1862 [With Manuscript Leaf]

      Palaemon Press Limited. Hardcover. Winston-Salem, 1981. 8vo, cloth in slipcase, 224 pp. Number 115 of 180 copies. With an original leaf of Borcke's journal laid in. The memoirs of a Prussian general who traveled with the Confederate army. Borcke suffered wounds during the conflict that forced him out of military life in 1867. A fine copy in a slightly rubbed very good plus slipcase with a chip and a closed tear to affixed labels. . Fine. 1981. First Edition.

      [Bookseller: Auger Down Books]
 35.   Check availability:     Biblio     Link/Print  


        Chhavi - 2. Rai Krishnadasa Felicitation Volume.

      Banaras Bharat Kala Bhavan 1981 - First edition Folio, pp.xiv, 323, 76 mounted colour plates, many illustrations. A very good copy in original cloth, plastic cover torn. Weight: 5 kg - postage quoted on request.

      [Bookseller: John Randall (Books of Asia), ABA, ILAB]
 36.   Check availability:     AbeBooks     Link/Print  


        Standard Edition of the Complete Psychological Works of Sigmund Freud (twenty-four volumes).

      London:: Hogarth Press,. Near Fine in Near Fine dust jacket. 1981. Hardcover. 0701200677 . Complete in twenty-four volumes. Translated from the German under the general editorship of James Strachey, in collaboration with Anna Freud. Later printings. Brief underlining to one line on page 111 of Volume XX, else each volume is near fine in a near fine (occasional small spot of soiling and/or an occasional short closed edge tear) dust jacket. .

      [Bookseller: Grendel Books, ABAA/ILAB]
 37.   Check availability:     Biblio     Link/Print  


        A Primer Of Birds : Signed By Ted Hughes And Leonard Baskin

      The Sole UK Printing published by The Gehenna Press in 1981. Number 170 of only 250 printed on hand made paper. The BOOK is in near Fine condition with just a slight mottling of the endpapers in places. Hughes' collection of poetry enhanced with seven woodcuts by Leonard Baskin including one coloured woodcut. Signed by both Hughes and Baskin to the limitation page. A wonderful production and increasingly scarce.

      [Bookseller: Ashtonrarebooks]
 38.   Check availability:     PBFA     Link/Print  

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