The viaLibri website requires cookies to work properly. You can find more information in our Terms of Service and Privacy Policy.

Displayed below are some selected recent viaLibri matches for books published in 1983

        The green, the red, the yellow, the black, and the white (Signed Limited Edition; Also INSCRIBED to Fellow Fluxus Artists)

      Editions Lebeer Hossmann, Bruxelles Hambourg 1983 - Artist book collaboration between fluxus artists George Brecht and Alison Knowles. Called a "bean-book" in the collophon which states that this book is based on illustrations from the "Sprach-Brockhaus - Deutsches Worterbuch fur jedermann" Verlag Eberhard Brockhaus, Wiesbaden 1947. Some of the legends and labels of the original have been replaced by the authors (sometimes at random by George Brecht, with the names of beans from the Alison Knowles collection). Published in February 1983 in an edition of eighty copies (of which this copy is hand-numbered 80) plus 8 hors commerce reserved for the authors and publisher. The edition has been silk-screen-printed on simili-japon by Roel Goussey and hand-bound by Liliane Gerard. Each copy is accompanied by an original silk-screen print hand-annotated by Alison Knowles, and signed by the authors. SIGNED by both artists on the colophon page as well as the laid in silk-screen print which, in this instance, has been annotated by Knowles as follows " The Scarlet Runner draws the white butterfly" A fine copy. In addition, this copy has been INSCRIBED by the artists to fellow fluxus artists Jackson Mac Low and Anne Tardos. A scarce and beautiful production. Only two copies noted in WorldCat. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Derringer Books, Member ABAA]
 1.   Check availability:     AbeBooks     Link/Print  


        Paul Celan: Gesammelte Werke in fünf Bänden.

      Suhrkamp, Frankfurt / Main 1983 - Fünf Bände, VOLLSTÄNDIG. In eleganter pappbezogener Hartkarton-Kassette. Alle Bände: gestaltete Schutzumschläge mit Rückentitelei, unverletzt. GANZLEDER Einbände, montierte goldgeprägte Titelschildchen, alle TADELLOS. ERSTER BAND: Gedichte I: Mohn und Gedächtnis, Von Schwelle zu Schwelle, Sprachgitter, Die Niemandsrose. 328 Seiten. +++ ZWEITER BAND: Gedichte II: Atemwende, Fadensonnen, Lichtzwang, Schneepart. 446 Seiten. +++ DRITTER BAND: Gedichte III: Der Sand aus den Urnen, Zeitgehöft, Verstreute Gedichte, Prosa, Reden. 233 Seiten. +++ VIERTER BAND: Übertragungen I, zweisprachig. 885 Seiten. +++ FÜNFTER BAND: Übertragungen II, zweisprachig. 665 Seiten. Eine bibliophile Ausgabe in NEUWERTIGEM ZUSTAND! +++ "Celan schafft seine Symbole, in denen der uralte Bestand als Grundschicht weiterlebt, überlagert von vielem Heutigen von Jüngstem. Mit ihm ist eine poetische Kraft aufgestanden, die das unsagbare an seinen Rändern packt und das Wort als eine äußerste Wirklichkeit Ernst nimmt" (Karl Schweldhelm, Deutsche Zeitung). +++ Paul Celan gehört zu den größten deutsch-jüdischen Poeten des 20. Jahrhunderts. Geboren in Czernowitz im Jahr 1920, nahm er sich das Leben 1970 in Paris. +++ 12,4 x 20,4 cm je, Gewicht insgesamt 3,1 kg. +++ Stichwörter: Gesamtausgabe Lyrik Poesie Übersetzungen Literatur Germanistik Bibliophilie Vorzugsausgabe Gewicht in Gramm: 3100 [Attributes: Hard Cover]

      [Bookseller: Antiquariat Clement]
 2.   Check availability:     ZVAB     Link/Print  


        A1: The Great North Road (Signed)

      Grey Edns, 1983, Softcover, Book Condition: Very Good Condition, First Edition, Signed by Author. ~~Signed neatly by Paul Graham to fly-leaf beneath 'A1'~~VG- 1st edition 1983 Grey Editions paperback, landscape format, superbly photographed and valuable resource. Minor lower edge crease to front cover and light spine-end shelf-wear else VG and tight, scarce especially with the author's signature. Sent Airmail at no extra cost; Worldwide Shipping IMMEDIATE 1ST CLASS/AIRMAIL DISPATCH Quantity Available: 1. Shipped Weight: Under 1 kilogram. Category: Photography; Signed by Author. ISBN: 0950870307. ISBN/EAN: 9780950870304. Pictures of this item not already displayed here available upon request. Inventory No: 067805.

      [Bookseller: 84 Charing Cross Road Books]
 3.   Check availability:     Bookzangle     Link/Print  


        A1. The Great North Road.

      Bristol: Grey Editions, 1983 - Oblong quarto. Original photographic wrappers, titles to spine and front wrapper in black. Gift inscription to half-title. Wrappers only a touch rubbed otherwise an excellent copy. 40 full page colour photographs. First edition, first impression. A series of photographs documenting the travels on the Great North Road between 1981-1982. [Attributes: First Edition]

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


        ANIMAL (6 RADIERUNGEN)

      - 6 Aquatinta auf Bütten, unterschiedliche Formate 10,2 x 13,5 bis 18,2 x 24 cm, Blattgrösse 38 x 50 cm, je numeriert 38/50 unten links, signiert u. datiert (19)83 unten rechts, in Orig.Leinenmappe Portfolio mit 6 expressiven Tierdarstellungen, erschienen bei der Galerie Hilger, Wien 1983. Das Begleitblatt fehlt, ansonsten sauber und gut [Attributes: Signed Copy]

      [Bookseller: Antiquariat A. Thomi]
 5.   Check availability:     ZVAB     Link/Print  


        Pet Sematary

      Doubleday 1983 - Stephen King (1983) ‘Pet Sematary’, US first edition, first print (first edition on copyright page + correct gutter code Y38 on page 374), published by Doubleday. Signed and inscribed by Stephen King: “For Tiffany – All best always, [signature; date]”. Condition: near fine book in a very good dust jacket. The book does not display any major flaws apart from some minor shelf wear from sliding in and out of shelf. The dust jacket has some moderate edge wear including minor chips and is faded on the spine. However, it is the first state wrapper with correct pricing of USD 15.95 and 1982 date at the rear. ‘Pet Sematary’ was adapted as a much loved Horror movie in 1989. The novel was King’s last to fulfil his contract with Doubleday. The idea came to King when his daughter’s cat was run over on the much frequented road where King lived with his family at the beginning of his career. A new movie adaptation is on its way. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: First and Fine]
 6.   Check availability:     AbeBooks     Link/Print  


        La Polynésie et les îles Marquises ; voyages et marine accompagnés d'un voyage en Abyssinie et d'un coup-d'oeil sur la canalisation de l'isthme de Panama

      First edition.Publisher's binding in full black cardboard, smooth back decorated with nets and cold boxes, framing of cold fillets on the plates, guards and contreplats of yellow paper, all golden edges.Some foxing, it would seem that the cartonnage was initially planned for another work whose name was neatly scratched, before reuse for our copy, in the middle of the first board. Librairie de Guillaumin Paris 1983 13x21,5cm relié

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


        Trattato di Tecnica Chirurgica 1,2,4,5,6,7,8,9,13,13,14,14,16,17 In vendita anche SFUSI

      Uffreduzzi

      [Bookseller: Libreria Fabiocomics]
 8.   Check availability:     maremagnum.com     Link/Print  


        Portrait de René Char à l'Isle sur Sorgué. 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. 1983 22x22cm sur papier Ilford 30x40cm une feuille

      [Bookseller: Librairie Le Feu Follet]
 9.   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. 1983 22x22cm sur papier Ilford 30x40cm une feuille

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


        Portrait de Michel Foucault. 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. 1983 22x22cm sur papier Ilford 30x40cm une feuille

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


        Portrait de Nathalie Sarraute. 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. 1983 22x22cm sur papier Ilford 30x40cm une feuille

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


        Portrait de Bernhard Thomas. Photographie Originale tirée par 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. 1983 22x22cm sur papier Ilford 30x40cm une feuille

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


        Portrait de William Hayter. 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. 1983 22x22cm sur papier Ilford 30x40cm une feuille

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


        Broadway. SIGNED.

      New York/Rotterdam, A. Jan Henderikse-Uitgeverij/Uitgeverij Bébert Edition, 1983. Brown (!) corrugated cardboard with ribbon ties (hardcover), 11,7 x 36,3 cms., leporello consisting of title-page + accordion-folded sheets containing b/w photographs (cross-sections, 3 pictures per page) showing perspectives of New York's Broadway by walking, title page loose. Signed 'Jan Henderikse' on front cover. Artist's book. Including Manhattan BUS MAP, inserted in rear pocket. Broadway is a book about Broadway, Manhattan, starting downtown in the financial district, then moving uptown to Soho, Times Square, the Upper West Side, Harlem, Sugar Hill and Inwood to Spuyten Duyvil, which separated Manhattan from the Bronx. "En nu dus BROADWAY. Zo'n 250 straten lang. Dat houdt in zo'n 250 foto's. 3 op een pagina. Fijn uitgevoerd in Harmonica stijl (...)." This rather general indication of the number of plates may indicate that the number of plates per copy can vary (among others according to Jan Henderikse). From an edition of 100 signed copies only sold in Europe. There was another edition of 100 for the U.S.A., unsigned. Slight discoloration to upper title-page, but generally in fine condition. Henderikse, Jan.

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


        THE PRINCE / LEVIATHAN Or the Matter, Form, and Power of a Commonwealth Ecclesiastical and Civilmachiavel

      Franklin Center Pennsylvania: Franklin Library. 1983. First Edition; First Printing. Hardcover. Fine, Accented in 22kt gold, printed on archival paper with gilded edges, smyth sewing & concealed muslin joints. Bound In full leather with hubbed spines. Pristine. A Limited Edition.; Franklin Library the Great Books of the Western World Series; 8vo 8" - 9" tall .

      [Bookseller: Rare Book Cellar]
 16.   Check availability:     Biblio     Link/Print  


        My Deep Dark Pain is Love. A Collection of Latin American Gay Fiction. Edited by Winston Leyland. Translated from Spanish and Portuguese by E. A. Lacey.

      San Francisco: Gay Sunshine Press, 1983 - Octavo. Original blue cloth, titles gilt to spine. No jacket as issued. Fine. Illustrated frontispiece. First edition, first printing, very scarce cloth issue, from the personal collection of publisher and editor Winston Leyland, signed by him on the title page. The vast majority of the clothbound copies were sold to libraries and are very scarce. Winston Leyland (b.1940) was a leading figure in American LGBT publishing and won the Stonewall Book Award in 1980. He established the Gay Sunshine Press in 1975, which was notable for its pioneering anthologies of gay writing from other cultures, and his Gay Sunshine Journal (1970-82) was particularly influential for its interviews with prominent gay writers of the era. Gay Sunshine A35a. [Attributes: First Edition; Signed Copy]

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


        Hefte der Edition Hundertmark.

      Köln, Edition Hundertmark, 1983-1985. - Erste Ausgaben (von Heft 12 auch die 2te Ausgabe). Eins von 80 Exemplaren der Sammelausgabe. * Enthält: 11: Takako Saito, Blaues regenbogen Wein Schachspiel (1983, GA 500 Ex., von Saito signiert). 12: Dietmar Kirves, Veränderung für Alle, 2tes Heft (1983/1985, GA 80/? Ex., EA signiert. Entstand in Zusammenarbeit mit plus-minus-presse). 13: George Brecht und Stefan Wewerka, Letters and Jazz. (1983, GA 1000 Ex., von Brecht und Wewerka signiert). 14: Bernhard Heidsick, Poeme-Partition (1984, GA 500 Ex., von Heidsick signiert). 15: Monika K.-Bartholomé, geheimLicht (1984, GA 500 Ex., von Bartholomé signiert). 16: Philipp Corner, Pieces of realities for some days (1984, GA ?, von Corner signiert), 17: Günter Brus, Eisblut, blauer Frost (1984, GA 500 Ex., von Brus signiert). 18: Gerhard Rühm, Wandrers (Geheimnis) (1985, GA 500 Ex., von Rühm signiert). 19: Arnulf Rainer, Zoologische Miniaturen (1985, GA 600 Ex.). 20: Emmett Williams, Schutzengel, aktiv-passiv (1985, GA 500 Ex., von Williams signiert. 9 von 11 Heften signiert! Sprache: Deutsch Gewicht in Gramm: 1001 8°. Jeweils ca. 16 S. je Heft. OBroschuren. 11 Hefte in OPappschuber mit montiertem Titelschildchen. Sehr schön. 11-20 Heft + 2te, veränderte und erweiterte Auflage von Heft 12 in einem Pappschuber mit montiertem Titelschildchen. 11 Hefte, meist mit zahlreichen Abbildungen. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Antiquariat Jürgen Fetzer]
 18.   Check availability:     AbeBooks     Link/Print  


        TWENTY THOUSAND LEAGUES UNDER THE SEA

      Franklin Center, Pennsylvania: Franklin Library. 1983. First Edition; First Printing. Hardcover. Fine, Accented in 22kt gold, printed on archival paper with gilded edges, smyth sewing & concealed muslin joints. Bound In full leather with hubbed spines. Pristine. A Limited Edition.; Oxford Library of the World's Greatest Books; 8vo 8" - 9" tall .

      [Bookseller: Rare Book Cellar]
 19.   Check availability:     Biblio     Link/Print  


        The Bowmen of Shu

      (NY): Grenfell Press. 1983. Copy No. 78 of 125 copies. Signed by Guy Davenport. An assemblage about the life of sculptor Henri Gaudier-Brzeska, with twelve drawings by Davenport and five reproductions of Gaudier pen and ink drawings. One of 115 copies bound in quarter morocco with printed Fabriano paper over boards. Mild sunning to the spine and rear board; near fine. With publisher's prospectus for a forthcoming book laid in. First Edition. Hardcover. Near Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA]
 20.   Check availability:     IOBABooks     Link/Print  


        Photographs

      c. 1983-84 - Six black and white photographs (not stated but) by Abe Frajndlich, of William Burroughs, or details thereof. Two photos of Burroughs seated inside at a desk; two photos of Burroughs standing outside in a trench coat and hat; one photo of Burroughs' coat, hat and cane on the floor next to a baseboard heater; one photo of Burroughs' hands as he signs a copy of The Place of Dead Roads. Each photo is 8-1/2" x 11"; faint staining to a few margins, else fine.

      [Bookseller: Ken Lopez Bookseller, ABAA (Lopezbooks)]
 21.   Check availability:     AbeBooks     Link/Print  


        La misteriosa scomparsadella Marchesina di Loria

      MILANO: EDIZIONI FRASSINELLI, 1983. IED. Brossurato. BUONO. 13 21. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 22.   Check availability:     Biblio     Link/Print  


        Interieurtekening in sepia van de S. Dominicus Kerk te Haarlem, 26x37cm. Anoniem.

      R.K. Schuilkerk in de 19e eeuw vervangen door de Spaarnekerk die in 1983 is afgebroken. Fraaie tekening in passe-partout met gouden randje. M14509.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
 23.   Check availability:     NVvA     Link/Print  


        ARTHUR ELGORT: PERSONAL FASHION PICTURES

      New York City, NY: Conde Nast Publications, 1983. First Edition. First Printing.. Hardcover. Fine/Fine Dust Jacket.. New York City, NY: Conde Nast Publications, 1983. Hardcover. Fine/Fine. First Edition/First Printing. 101 pages. Retrospective collection of the photographer's work. One of the most beautiful photography books of the 20th century. Limited Edition of 1500 numbered and signed copies. The first and only edition. Published as a hardcover original only, the book was not commercially distributed and given only to friends, colleagues, and supporters of the photographer and the publisher. There is no ISBN. The Limited Edition is now rare. A brilliant production by Arthur Elgort and Steve Hiett: Oversize-volume format. Linen cloth boards with black titles embossed on spine, as issued. Photographs and brief text by Arthur Elgort. List of Plates And Credits appended at the end. Printed in gravure on pristine-white, thick coated stock paper in the United States to the highest standards. The reproduction quality is outstanding in every respect: Each gravure plate is palpably rich and warm. In wraparound pictorial DJ, which features "Wendy Whitelaw, Park Avenue, July 1981", as issued. Presents Arthur Elgort's "Personal Fashion Pictures". The full range of the photographer's work: Fashion photographs, portraits, snapshots, nudes, and semi-abstract work. Fashion remains Arthur Elgort's passion. While he took lovely photographs of just about everything else, in this book at least, he sees them all from his personal perspective as Fashion Everywhere, that is to say, Beauty Everywhere (hence the title). For Elgort, fashion is not just on the runway, it is in the streets, in people's beautiful faces and voluptuous bodies, dressed or undressed, male or female, as seen by him and captured for posterity by the camera. Some of the most beautiful sequences in the book are his photographs of Balanchine and his New York City Ballet dancers, in rehearsal and posing imperiously before the camera, immobile just this once. His single most famous photograph (of the fashion model Wendy Whitelaw) is proof of fashion's inherent sex appeal: Elgort photographs Whitelaw from behind, the right sleeve of her Azzedine Alaia dress casually off her shoulder. The image has been copied innumerable times by other photographers without credit ever being given to Elgort (whose fame has now also been somewhat eclipsed, and he doesn't mind, by his son Ansel, the Hollywood actor/heartthrob). The photograph of the Dutch model Piet Houtenbous and his son frolicking in the nude offers a glimpse of pure joy. An absolute "must-have" title for Arthur Elgort collectors. <b><i> This copy is one of the Limited Edition, indicated/numbered as such on the Back Limitation Page. It is very prominently and beautifully signed in black ink-pen by Arthur Elgort. This title is a photography book classic. This is one of very few copies of the Limited Edition still available online and despite its imperfection (slight wear on the DJ edges and spine, but it's there) is still in especially fine condition: Each gravure plate is clean, crisp, and bright, a beauty. A rare signed copy thus. </b></i> 72 gravure plates. One of the most brilliant photographers of the 20th century. A fine collectible copy. .

      [Bookseller: Modern Rare]
 24.   Check availability:     Biblio     Link/Print  


        Hefte der Edition Hundertmark.

      8. Jeweils ca. 16 S. je Heft. OBroschuren. 11 Hefte in OPappschuber mit montiertem Titelschildchen. Sehr schön. Erste Ausgaben (von Heft 12 auch die 2te Ausgabe). Eins von 80 Exemplaren der Sammelausgabe. * Enthält: 11: Takako Saito, Blaues regenbogen Wein Schachspiel (1983, GA 500 Ex., von Saito signiert). 12: Dietmar Kirves, Veränderung für Alle, 2tes Heft (1983/1985, GA 80/? Ex., EA signiert. Entstand in Zusammenarbeit mit plus-minus-presse). 13: George Brecht und Stefan Wewerka, Letters and Jazz. (1983, GA 1000 Ex., von Brecht und Wewerka signiert). 14: Bernhard Heidsick, Poeme-Partition (1984, GA 500 Ex., von Heidsick signiert). 15: Monika K.-Bartholomé, geheimLicht (1984, GA 500 Ex., von Bartholomé signiert). 16: Philipp Corner, Pieces of realities for some days (1984, GA ?, von Corner signiert), 17: Günter Brus, Eisblut, blauer Frost (1984, GA 500 Ex., von Brus signiert). 18: Gerhard Rühm, Wandrers (Geheimnis) (1985, GA 500 Ex., von Rühm signiert). 19: Arnulf Rainer, Zoologische Miniaturen (1985, GA 600 Ex.). 20: Emmett Williams, Schutzengel, aktiv-passiv (1985, GA 500 Ex., von Williams signiert. 9 von 11 Heften signiert!

      [Bookseller: wetterfahne]
 25.   Check availability:     booklooker.de     Link/Print  


        Worstward Ho

      Calder 1983 - One of Beckett's last works, Worstward Ho is the last of his "second trilogy," published in 1983 by Calder. This is a first edition, softcover as issued, inscribed by Beckett on the title page "Samuel Beckett, Paris, 18-7-88." Difficult to find this volume anywhere, much less signed. Comes housed in a handsome, sturdy, black-linen-covered clamshell, custom made by Ursus Books, NYC. A worthwhile addition to any Beckett collection. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Endgame Books]
 26.   Check availability:     AbeBooks     Link/Print  


        Guida pratica agli alberi e arbusti in Italia

      Selezione dal Reader' s Digest, 1983. ITALIANO 0,8 Legatura editoriale in cartoncino rigido, con copertina illustrata e dorso in tela. Pagine in buonissimo stato, ricche di fotografie e illustrazioni a colori, nel testo. USATO

      [Bookseller: Biblioteca di Babele]
 27.   Check availability:     maremagnum.com     Link/Print  


        Perché a Roma si dice… - Vol III Vagabondaggi romaneschi

      ROMA: Edizioni Piazza Navona, 1983. IED. Brossurato. BUONO. 16 21. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 28.   Check availability:     Biblio     Link/Print  


        Icebreaker - 1st Edition/1st Printing

      Jonathan Cape and Hodder & Stoughton, London 1983 - A most attractive first Impression of the first edition in Very Fine condition in alike original dust-wrapper with £8.95 net price sticker, SIGNED by author John Gardner on the title page; John Gardner's third novel featuring Ian Fleming's secret agent, James Bond finding himself recruited into a dangerous mission involving an alliance of agents from the United States (CIA) , the Soviet Union (KGB) and Israel (Mossad). The team, named "Icebreaker", to root out the leader of the National Socialist Action Army (NSAA) , Count Konrad von Glöda First Edition; First Printing; Signed by Author. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Books Tell You Why - ABAA/ILAB]
 29.   Check availability:     AbeBooks     Link/Print  


        René Char - Abattoir en ruine. Photographies Originales

      Diptych original photographic portraits in black and white made and drawn by Marc Trivier. The two photographs, taken facing are: - An original photographic portrait of René Char in L'Isle-sur-la-Sorgue in 1983 - An original photograph of a ruined slaughterhouse in Brussels in 1985 Portrait artist.. , anonymous, crazy, slaughterhouse or tree: Marc Trivier photographed each subject with the same interrogative intensity. All made in the same square, elementary and closed without editing or cropping format photographs seem less staging a subject - famous or unknown, elected or deposed, living or dead - interrogate a presence. "What interested me was not just photographing a body or face, but this particular situation is someone doing the photo of someone else." By comparing portraits artists in their corresponding altered Trivier undresses the work of its effects and reveals the enigmatic photographic nude body. "In his cosmogony, every thing, every being, plant, animal or human, deserves the same respect for they are all facing the same iron law. Solitude." (Luke Desbenoit in Télérama, 05/03/2011 on the occasion of the retrospective Marc Trivier at the Maison Européenne de la Photographie). Silver prints unsigned, like most works of Trivier. Unique tests taken by the artist. Rare diptych of one of the greatest contemporary photographers. Provenance: Private Collection Paule Thévenin. Par l'auteur s.l. 1983-1984 22x22cm sur papier Ilford 30x40cm 2 planches photographiques

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


        Pirates (Original screenplay for the 1986 film, 1983 draft)

      Paris: Carthago Films, 1983. Second Draft script for the 1986 film, dated three years prior to its release. Nominated for an Academy Award. One of Polanski's most underrated efforts, in many ways a companion to "The Fearless Vampire Killers" in that it is a beautifully executed, comedic valentine to the genre films of Polanski's youth. A France-Tunisia co-production, shot on location in Tunisia, Malta, and Seychelles, with Walter Matthau as a Captain Thomas Bartholomew Red and David Kelly as ship's surgeon. Self wrappers. Title page present, noted as 2nd Draft, dated 11/14/83, with credits for screenwriters Polanski and Brach. 123 leaves, mechanically reproduced. Pages Near Fine, wrapper Very Good bound internally with three gold brads.

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


        My Deep Dark Pain is Love.

      San Francisco: Gay Sunshine Press,, 1983. A Collection of Latin American Gay Fiction. Edited by Winston Leyland. Translated from Spanish and Portuguese by E. A. Lacey. Octavo. Original blue cloth, titles gilt to spine. No jacket as issued. Illustrated frontispiece. Fine. First edition, first printing, very scarce cloth issue, from the personal collection of publisher and editor Winston Leyland, signed by him on the title page. The vast majority of the clothbound copies were sold to libraries and are very scarce. Winston Leyland (b.1940) was a leading figure in American LGBT publishing and won the Stonewall Book Award in 1980. He established the Gay Sunshine Press in 1975, which was notable for its pioneering anthologies of gay writing from other cultures, and his Gay Sunshine Journal (1970-82) was particularly influential for its interviews with prominent gay writers of the era.

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


        Cycle of the Werewolf

      (Westland): Land of Enchantment. (1983). Inscribed by King to his editor at Doubleday, Samuel Vaughan: "For Sam - Thanks for making something that could have been so hard so easy - and so successful. Quite a fall, huh? Your friend, Steve King/ 11/30/83." Vaughan had edited King's Pet Sematary, which had been published on 11/14/83 with a first printing announced as 500,000 copies. Cycle of the Werewolf is a single story by King, issued with illustrations by Berni Wrightson, who had collaborated with King on Creepshow. There was a signed limited edition of 250 copies; the trade edition, this one, had 7500 copies -- a tiny fraction of the numbers for Pet Sematary and King's other trade publications at that time. While the limited edition is scarcer in sheer numbers, our experience is that genuine Stephen King association copies are much rarer than his signed limiteds. Slight corner taps, else fine in a near fine dust jacket with one very small edge chip and some minor edge wear. First Edition. Hardcover. Near Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA]
 33.   Check availability:     Biblio     Link/Print  


        La Moda Grande storia illustrata

      NOVARA: EDIPEM - Istituto Geografico De Agostini, 1983. Rilegato. BUONO. 21,5 28,5. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 34.   Check availability:     Biblio     Link/Print  


        The Art of Elizabeth Catlett

      Hancraft Studios 1983 - Issued In An Edition Of 1000 Copies, This Copy Unnumbered, And Personally Inscribed By Both Catlett And Lewis To A Patron, Also Signed By Catlett In Silver On The Front Free Endpaper. Lacking The Original Print, As Usual. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Arroyo Seco Books, Pasadena, Member IOBA]
 35.   Check availability:     AbeBooks     Link/Print  


        JUNGE FRAU

      - Acryl auf Leinwand 70 x 95 cm, gerahmt, rückseitig bezeichnet und signiert 1983 Populärer polnischer Künstler und Galerist [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat A. Thomi]
 36.   Check availability:     ZVAB     Link/Print  


        Company

      Iowa Center for the Book, Iowa 1983 - One of the 52 signed and illustrated copies. Title page hand-colored in all copies, though not stated in the edition. Folio. Approximately 14 x 10.5 inches. Quarter dark brown morocco, title blind-stamped, over dark gray marbled-paper boards. Black cloth slipcase. Slipcase with trivial shelfwear only, book about as new, very fine. Century for the Century, No. 89. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Blue Sky Rare Books]
 37.   Check availability:     AbeBooks     Link/Print  


        Recover Quickly: From Injuries and Other Painful Conditions

      Allen & Unwin, 1983. Paperback. Used; Acceptable. Paperback; English language; 8vo - over 7.75" - 9.75" tall; a fair reading copy. Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent airmail.

      [Bookseller: Sunrise Books Ltd]
 38.   Check availability:     Biblio     Link/Print  


        Angeli di desolazione

      MILANO: ARNOLDO MONDADORI EDITORE, 1983. IED. Brossurato. BUONO. 11 18,5. Oscar Mondadori USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 39.   Check availability:     Biblio     Link/Print  


        Personnage.

      Federzeichnung/ Aquarell signiert und datiert 1983 - 51,5x40,5 cm ** Photos auf Wunsch im JPG-Format erhältlich.**

      [Bookseller: Kunsthandlung Goyert]
 40.   Check availability:     AbeBooks     Link/Print  


        La Polynésie et les îles Marquises ; voyages et marine accompagnés d'un voyage en Abyssinie et d'un coup-d'oeil sur la canalisation de l'isthme de Panama

      Librairie de Guillaumin 1983 - - Librairie de Guillaumin, Paris 1983, 13x21,5cm, relié. - Edition originale. Reliure de l'éditeur en plein cartonnage noir, dos lisse orné de filets et de caissons à froid, encadrement de filets à froid sur les plats, gardes et contreplats de papier jaune, toutes tranches dorées. Quelques rousseurs, il semblerait que le cartonnage était initialement prévu pour un autre ouvrage dont le nom a été proprement gratté, avant réemploi pour notre exemplaire, au milieu du premier plat. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First edition. Publisher's binding in full black cardboard, smooth back decorated with nets and cold boxes, framing of cold fillets on the plates, guards and contreplats of yellow paper, all golden edges. Some foxing, it would seem that the cartonnage was initially planned for another work whose name was neatly scratched, before reuse for our copy, in the middle of the first board. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
 41.   Check availability:     AbeBooks     Link/Print  


        Cycle of the Werewolf

      (Westland): Land of Enchantment, (1983). (Westland): Land of Enchantment. (1983). Inscribed by King to his editor at Doubleday, Samuel Vaughan: "For Sam - Thanks for making something that could have been so hard so easy - and so successful. Quite a fall, huh? Your friend, Steve King/ 11/30/83." Vaughan had edited King's Pet Sematary, which had been published on 11/14/83 with a first printing announced as 500,000 copies. Cycle of the Werewolf is a single story by King, issued with illustrations by Berni Wrightson, who had collaborated with King on Creepshow. There was a signed limited edition of 250 copies; the trade edition, this one, had 7500 copies -- a tiny fraction of the numbers for Pet Sematary and King's other trade publications at that time. While the limited edition is scarcer in sheer numbers, our experience is that genuine Stephen King association copies are much rarer than his signed limiteds. Slight corner taps, else fine in a near fine dust jacket with one very small edge chip and some minor edge wear. First Edition. Hardcover. Near Fine.

      [Bookseller: Ken Lopez Bookseller, ABAA ]
 42.   Check availability:     ABAA     Link/Print  

______________________________________________________________________________


      Home     Wants Manager     Library Search     562 Years   Links     Contact      Search Help      Terms of Service      Privacy     


Copyright © 2018 viaLibri™ Limited. All rights reserved.