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

        Tableaux-Reliefs/Skulpturen 1970 - 1983. Zürich. Waser Verlag 1983. 28,5 x 25 cm. 136 Seiten mit 64 teils ganzseitigen Abbildungen. Originalleinen mit Illustriertem Schutzumschlag und Schuber.

      Waser Verlag, 1983. Originalausgabe. Eines von nur 23 Exemplaren der Vorzugsausgabe mit einer signierten und nummerierten Etude (Collage auf Leinwand) von Gottfried Honegger. Texte von Serge Lemoine, Maurice Besset und Helmut Heissenbüttel.

      [Bookseller: Antiquariat Günter Linke]
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        MIRO' LITHOGRAPHS 40 WORKS BY JOAN MIRO'

      DOVER PUBLICATIONS, 1983. INGLESE 0,21 Brossura editoriale illustrata, leggermente ingiallita al posteriore e con lievissimi segni del tempo, numerose roproduzioni in nero in pagine ottimamente conservate USATO

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


        Gay Day archive

      New York, 1983. 291 vintage silver prints, comprising 119 measuring 8x10 in. and 5 measuring 11x14 in., each captioned on the rear by Ginsberg, most dated and signed by O'Neal; 166 prints, various sizes including 11x14 in. (65 prints) and 8x10 in. (71 prints). An additional 40 11x14 in. matted exhibition prints, printed 2006; high resolution scans of 1559 negatives. Fine. 291 vintage silver prints, comprising 119 measuring 8x10 in. and 5 measuring 11x14 in., each captioned on the rear by Ginsberg, most dated and signed by O'Neal; 166 prints, various sizes including 11x14 in. (65 prints) and 8x10 in. (71 prints). An additional 40 11x14 in. matted exhibition prints, printed 2006; high resolution scans of 1559 negatives. The complete collection of 124 vintage silver prints by Hank O'Neal with original autograph captions on the verso of each by Allen Ginsberg, as reproduced in Gay Day: The Golden Age of the Christopher Street Parade, 1974-1983 (New York, 2006). Hank O'Neal began photographing the annual "Gayday Parade" (as Ginsberg called it) in 1974, intrigued by the festive atmosphere surrounding the groups of marchers assembling outside of his Christopher Street studio. These were the early days of the gay liberation movement, only a few years after the Stonewall riots and before the full force of the AIDS epidemic would galvanize the movement. O'Neal continued to photograph the parade every year throughout the '70s, eventually stopping in 1983 as the parade became better organized, less spontaneous and more media-savvy. Allen Ginsberg saw the prints in O'Neal's Broadway studio in 1982 and was inspired to add his captions - humorous, irreverent, poetic, but sometimes merely descriptive - to the back of 124 of the best images ("I'm so happy! I can display my / big fat ass on the curbstones of heaven!" "Guys at the union / lean on each other like this, / as Whitman noted.") O'Neal had some difficulties in finding a publisher willing to take on the project. It was not until 2006 that Abrams published the images and captions in Gay Day: The Golden Age of the Christopher Street Parade, 1974-1983, with a Preface by William Burroughs and an essay by Neil Miller. The Gay Day archive includes all 124 vintage O'Neal prints captioned by Ginsberg, with an additional 166 vintage prints, 40 exhibition prints, and high resolution scans of the negatives of 1559 images.

      [Bookseller: James Cummins Bookseller]
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        IVOR THE ENGINE.

      Original full colour art work for a comic-strip for PIPPIN comic, 22nd September 1983. Pippin was a UK children's comic, published by Polystyle Publications between 24.09.1966 and 26.09.1986, featuring characters from British pre-school television programmes. Stories were generally of four or eight numbered panels, with a short sentence below each illustration. Peter Firmin, together with Oliver Postgate, created some of children's television most-loved and rightly famous characters, Noggin the Nog, Clangers, Bagpuss and Ivor The Engine. Please note that the price quoted is subject to VAT.

      [Bookseller: David Miles]
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        André Masson - Abattoir XI. Photographies Originales

      A pair of original black and white photographic portraits taken and printed by Marc Trivier.The two photographs are, respectively : - An original photographic portrait of André Masson. - An original photograph taken in the abattoir of Bruxelles in 1983. Artists, strangers, madmen, abbatoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "What interested me was not simply photographing a body or a face, but the curious situation of someone taking a photo of someone else." In placing his portraits of artists side by side with a divergent pair, Trivier denudes the work of its effect and reveals the enigmatic nakedness of the photographic body. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. For all are subject to the same iron law: solitude" (Luc Desbenoit in Télérama, 05/03/2011, on the occasion of Marc Trivier's retrospective at the Maison Européenne de la Photographie).Unsigned silver prints, like most of Trivier's work. Unique proofs printed by the artist. Small stain, not serious, in the margin of the abattoir, not touching the photograph.An exceedingly rare diptych by one of the great contemporary photographers.  Par l'auteur S.l. 1983 22x22cm sur papier Ilford 30x40cm 2 planches photographiques

      [Bookseller: Librairie Le Feu Follet]
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        Bernard Noël. Photographie Originale

      Large original black and white portrait of Bernard Noël.Artists, strangers, madmen, abbatoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "What interested me was not simply photographing a body or a face, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre.» Trivier denudes the work of its effect and reveals the enigmatic nakedness of the photographic body. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. For all are subject to the same iron law: solitude" (Luc Desbenoit in Télérama, 05/03/2011, on the occasion of Marc Trivier's retrospective at the Maison Européenne de la Photographie).Unsigned silver prints, like most of Trivier's work. Unique proofs printed by the artist. An exceedingly rare diptych by one of the great contemporary photographers.  Par l'auteur S.l. 1983 22x22cm sur papier Ilford 30x40cm 1 planche photographique

      [Bookseller: Librairie Le Feu Follet]
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        Il libro tibetano dei morti

      Newton Compton Editori S. r. l.-Roma, 1983. ITALIANO 0,2 Ottimo stato, coperta illustrata in cartoncino patinato, su piatto anteriore La ruota dell'Esistenza, foto Norbu da una thanka di sua proprietà, bordo e punte appena sfregati, cerniera stretta, tagli leggermente ingialliti, pagine in ottimo stato. X volume della collana Magia e religioni, diretta da Alfonso di Nola. I edizione. USATO

      [Bookseller: Biblioteca di Babele]
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        A1. The Great North Road.

      Grey Editions. Bristol 1983 - First impression. Publisher's paper over boards in dust wrapper, as issued. Signed by Paul Graham to the half-title. The trade hardcover issue of Graham's first book; perhaps the most influential photo book of the last thirty years. Very scarce. The bulk of the edition was issued in soft cover, there was also a 'Special Edition' of 75 signed, numbered and slipcased copies, each issued with a print of the cover image 'Blyth Services at Night'. The trade hardcover issue is rarely encountered, no reference is made in the 'Technical Note' at the rear of the book, which mentions only the soft cover and the Special Edition. However, the publishers intended 100 of these trade hardcover copies but the binders supplied only half that number, which makes this the scarcest issue of the work. A new copy; bumped to the head of the spine with a corresponding crease to the dust wrapper, otherwise no faults. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: David Cornell]
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        MIRO' LITHOGRAPHS 40 WORKS BY JOAN MIRO'

      DOVER PUBLICATIONS, NEW YORK 1983 - INGLESE Brossura editoriale illustrata, leggermente ingiallita al posteriore e con lievissimi segni del tempo, numerose roproduzioni in nero in pagine ottimamente conservate

      [Bookseller: Biblioteca di Babele]
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        Takuma Nakahira: Aratanaru Gyoushi (A New Gaze) (missing obi)

      Shobunsha, Tokyo 1983 - First edition, first printing. Hardcover. Printed paper-covered boards, with photographically illustrated dust jacket. Photographs and text (in Japanese) by Takuma Nakahira. 128 pp., with 16 four-color and 43 black-and-white plates finely printed full-bleed on heavy glossy paper. 10-3/8 x 7-1/2 inches. Near Fine (moderate shelf wear, with rubbing to the board edges) in Fine dust jacket (missing obi). As one of the founding members of the influential 1970s Provoke movement, Takuma Nakahira helped to define a distinct photographic language. In 1977, as a result of acute alcohol poisoning, Nakahira suffered severe amnesia and lost much of his ability to communicate through spoken and written language. A New Gaze presents images and diary entries Nakahira made as he recovered and literally began to rediscover language -- both photographic and verbal. From the artist: "My photography is an absolute necessity for me, having forgotten everything." [Attributes: First Edition; Hard Cover]

      [Bookseller: Vincent Borrelli, Bookseller]
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        Unwrapped und Unveiled. SIGNED/FINE COPY.

      Rotterdam, Bébert, 1983. Cardboard portfolio with COLLAGE kept together with a string, 31 x 23 cms., containing 2 title-pages, 1 page with contents, a Polaroid, a cheque written out to Joop Schipper and signed by Henderikse, stapled to sheet showing the text:'I found a check for you, those were the days of my life', 'two copies in Color Xerox' + 'five pages of Polaroid copies', a colophon page, bearing Number 'O' & the signatures both by Hilaire Dubourcq and Jan Henderikse all in pencil, a color advertising pamphlet (Ful-vu, E-Z Slide, Report Covers, Cooks' Inc. Blackwood, N.Y., Chicago, Dallas, Los Angeles), all items loosely inserted as issued and housed in two plastic flyers. Published in a limited edition of 36 copies, marked A to Z and numbered 1 to 10. EXTRA: polaroid fully signed in black felt-tip pen by Henderikse. Henderikse, Jan.

      [Bookseller: Luïscius Books]
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        LILAC WIND.

      Newark: Janus Press, 1983. A curvilinear paperpulp book from 2 1/2 to 12 inches tall. (8) pages accordion-fold opening to 60 inches on two sheets joined at mid-fold. Three poems are printed directly upon the pulp painting made by Claire Van Vliet at Twinrocker Paper Mill. Two tallest "peaks" have a light crease, else fine in plum, blue, & grey tray case, with prospectus. One of 150 copies signed by the artist/printer. Printed damp in deep blue on paperwork from colored pulps in white, blues, greys, violets; stencil and relief printed moon in light green. The book is a perfect vehicle for these poems.

      [Bookseller: The Veatchs Arts of the Book]
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        Accounting Standards 1983-84

      Institute of Chartered Accountants in England & Wales, 1983. Paperback. Used; Acceptable. Paperback; English language; a fair reading copy. Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent Royal Mail airmail.

      [Bookseller: Sunrise Books Ltd]
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        JAZZ. ILLUSTRE PAR RAYMOND MORETTI. TEXTE DE FRANK TENOT, AVEC UN POEME DE CLAUDE NOUGARO ET LA COLLABORATION DE MICHEL LEGRAND ET DANIEL FILIPACCHI.

      GEORGES ISRAEL EDITEUR. 1983 - IN-FOLIO (35,5 X 47,5 X 6 CENTIMETRES ENVIRON) DE 56 + (7) PAGES, SOUS COUVERTURE CARTONNEE BLANCHE ILLUSTREE EN DORE ET EMBOITAGE CARTONNE ROUGE DE L'EDITEUR, PLAT SUPERIEUR ILLUSTRE EN DORE, TITRE DORE SUR DOS LISSE. ILLUSTRE DE 13 LITHOGRAPHIES HORS TEXTE : UNE EN NOIR EN FRONTISPICE ET 12 EN COULEURS, DONT 11 A DOUBLE PAGE. PREMIER TIRAGE LIMITE A 1350 EXEMPLAIRES NUMEROTES, TOUS SUR VELIN PUR CHIFFON DES PAPETERIES D'ARCHES, CELUI-CI PORTANT LE NUMERO 573, NUMEROTE A LA MAIN ET SIGNE PAR L'EDITEUR. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Librairie du Château de Capens]
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        Codex Seraphinianus

      Meulenhoff / Landshoff, Amsterdam 1983 - First Dutch edition - Small defect on top of spine dust jacket !!! - The book is an encyclopedia in manuscript with copious hand-drawn, colored-pencil illustrations of bizarre and fantastical flora, fauna, anatomies, fashions, and foods. It has been compared to the Voynich manuscript, "Tlön, Uqbar, Orbis Tertius", and the works of M.C. Escher and Hieronymus Bosch.The illustrations are often surreal parodies of things in the real world: bleeding fruit; a plant that grows into roughly the shape of a chair and is subsequently made into one; a lovemaking couple that metamorphoses into an alligator; etc. Others depict odd, apparently senseless machines, often with a delicate appearance, kept together by tiny filaments. There are also illustrations readily recognizable as maps or human faces. On the other hand, especially in the "physics" chapter, many images look almost completely abstract. Practically all figures are brightly coloured and rich in detail. (Wikipedia) [Attributes: First Edition; Hard Cover]

      [Bookseller: Von Meyenfeldt, Slaats & Sons]
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        Icebreaker. (A James Bond novel).

      London: Jonathan Cape and Hodder and Stoughton 1983. FIRST EDITION. Octavo, pp250. Publisher's cloth in pictorial dustjacket. Near fine in like dust-wrapper, housed in a leather-spined clamshell box. This remarkable copy embellished with an original painting from the dustwrapper artist Bill Botten, who illustrated the jacket for this and other Gardner Bond novels, as well as both Christopher Wood 007 titles. Artwork signed by Botten, who has added the letter 'M'. We understand that a limited run of copies numbered 001-010 was produced, plus a couple out-of-series, appropriately lettered 'M' and 'Q'. John Gardner's third 007 novel as official successor to Ian Fleming; 'Icebreaker' sees James Bond posted to the north of Finland and he is obliged to collaborate with the KGB, CIA and Mossad to eradicate a secret terrorist group. Haining; Crime Fiction p208.

      [Bookseller: Adrian Harrington]
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        The History of Middle-Earth (12 volumes)

      Boston: Houghton Mifflin Company, 1983-1996. Later printings. Hardcover. Very good/very good. Octavo [23 cm] Black cloth over boards with gilt lettering and double gilt ruled borders on the spine. The extremities are sporadically faded, and several of the boards are moderately splayed. The text block edges of volume 6 are lightly soiled. In jackets showing subtle edge wear, and with occasional fading to the spines and edges. The jacket of volume 2 has the most severe fading, and is price-clipped. Volume 6 has a small open tear at the head of the jacket's spine. Volume 2 has the full number line, V 10 9 8 7 6 5 4 3 2 1, and 1984 on the title page, however the jacket is price-clipped. A complete set in hardcover of The History of Middle-earth.

      [Bookseller: Ken Sanders Rare Books, ABAA]
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        Aftermath of Lengthy Rejection Slip (with Signed Publisher's Prospectus)

      Norristown, PA: Blackrose Editions, 1983. First Edition. Paperback. Very Good. Signed by Author. Copy 45 of 150 numbered copies issued along with 26 lettered copies; signed by Bukowski in black ink on back cover with heart-shaped sun, dog, flower (?), and lil' Buk doodles. Large single sheet folded to create four pages. First book publication of a story originally published in Story magazine in 1944. Near Fine with very faint stain on top edge of front cover. A nice copy. Includes Bukowski's recollections of the publication of the story on the rear cover and a reproduction of one of Story editor Whit Burnett's letters on front cover as well as the complete story.Also includes the publisher's prospectus for this limited edition, signed by Bukowski on the front cover (number 1 of 15 such copies), hand-drawn Buk with jug doodle on verso.

      [Bookseller: Burnside Rare Books]
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        Friends From Place Blanche [Vennerna Fran Place Blanche]

      Stockholm, ETC. 1983. First edition. Square 8vo. Fine clean and crisp in publisher's white paper covered boards titled in black. In a very good dustjacket with minor fraying and creasing along the top edge, a clean, tight and attractive copy. A compelling and frequently very moving collection of the late Christer Stromholm's photographs of the lives of transvestites and transexuals in Paris. Scarce.

      [Bookseller: Adrian Harrington]
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        The History of Middle Earth (All 12 Volumes, UK Editions)

      George Allen & Unwin / Unwin Hyman / Harper Collins, 1983 All UK editions (1983-1996), published by George Allen & Unwin (vols. 1-4), Unwin Hyman (vols. 5-8), and Harper Collins (vols. 9-12). All in very good+ to fine condition. Spine of volume 9 a little faded. Some light water staining to volumes 3 and 4. A very nice set indeed. Extra postage costs will be incurred outside of the UK - free post in the UK.[removed][removed]

      [Bookseller: John Atkinson Books]
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        Broadway. SIGNED/FINE COPY.

      New York/Rotterdam, A. Jan Henderikse-Uitgeverij/Uitgeverij Bébert Edition, 1983. Corrugated cardboard with ribbon ties, 11,7 x 36,3 cms., leporello consisting of title-page + (83) pages accordion-folded sheets containing 249 b/w photographs (cross-sections, 3 pictures per page) showing perspectives of New York's Broadway by walking, consisting of 84 couped sheets. 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. From an edition of 100 signed copies only sold in Europe, this being numbered '41', dated '2/4 83' and signed in pencil by Henderikse on front panel. There was another edition of 100 for the U.S.A., unsigned. Henderikse, Jan.

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


        Die Kunst des Quadrats/Erräumen. Zum Werk von Frank Lloyd Wright.

       Wien/Köln/Graz, Böhlau 1983-2002. 4 Bde. (Komplett!) quadr.-4°. u. gr.-4° (Bde. 3. u. 4). 1517 S. Mit Hunderten tlw. farb. Illustr., Textabb. u. Taf. OLn. m. OU. In neuwertigem Zustand. - (Schriften des Instituts für Kunstgeschichte. Akademie der bild. Künste, Wien)Mit eigenhänd., mehrzeil. Widmung u. Zeichnungen d. Verf. im ersten Band. Versand D: 4,00 EUR Architektur, Widmungsexemplare

      [Bookseller: Antiquariat Burgverlag]
 22.   Check availability:     buchfreund.de     Link/Print  


        Jazz

      New York: George Braziller, Inc. 1983. First edition of the large folio facsimile printing of the legendary 1947 edition, complete with twenty large color plates (including fifteen double-page). With Introduction by Riva Castleman, text translated in English by Sophie Hawkes. Published for the Museum of Modern Art. New York: George Braziller, Inc., 1983. Large folio (12x15.5 in; 30.5x39 cm), contents loose as issued in printed wraps; publisher's cloth-backed clamshell case; original board slipcase. A FINE COPY. Fine.

      [Bookseller: The Manhattan Rare Book Company]
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        Pic-nic on the Battlefield. Signed.

      Nomad Press: 1983 - 9 x 11.75 inches. Original pictorial green paper wrappers, repaired. Original woodcuts by Sidney Chafetz . One of 45 signed (by the artist) and numbered copies, printed on handmade paper. Printed by Tracy A. Davis.OCLC Number: 10023741 [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Wittenborn Art Books]
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        Fury of Firestorm, Vol.2, Issue 18, page 14 "Squeeze Play"

      DC Comics Inc, 1983. 10 7/12 x 16 in. Fine. 10 7/12 x 16 in. First appearance of Henry Hewitt as Tokamak! Comic Book Synopsis: Henry Hewitt uses a nuclear reactor to transform himself into Tokamak, an atomic super-villain. ("Firestorm Vol. 2 18." DC Database. Web. 3 March 2015) Page synopsis: Tokamak is brutally killing his employee Leroy Merkyn, also known as the Enforcer, with plasma energy rings.

      [Bookseller: James Cummins Bookseller]
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        [Albany Cycle, comprising] Legs; Billy Phelan's Greatest Game; [and] Ironweed

      New York [through 1983] Three First Printings, all in highly collectible condition. 8vo's; 317, [1]; [12], 282; [12], 227, [1]pp. Legs (Coward, McCann & Geoghegan, 1975): Publisher's cream paper-covered boards and black cloth spine stamped gilt, with decorative end papers; in a pictorial dust jacket priced $8.95. Fine and apparently unread with one bumped tip; in a just about Fine jacket, the spine ends very lightly rubbed and creased. Billy Phelan (Viking Press, 1978): Publisher's grey cloth, the spine stamped silver; in a pictorial dust jacket priced $9.95. Fine and unread, the binding square and very tight; in a better than Near Fine jacket, the spine tips lightly rubbed, the back panel with several creases and short closed tears. Ironweed (Viking Press, 1983): First State, with "perceivced" for perceived on page 205, line 22; in a First Issue jacket with a blurb from Saul Bellow (Kennedy's mentor) on the front panel and no author's photo. Publisher's grey cloth spine lettered in silver and black paper-covered boards; in a pictorial dust jacket priced at $14.75. A Fine, unread copy, marred only by faint dust-spotting to the fore- and top edges; in a Fine, bright, unfaded jacket. Fine Albany is the crucible where Kennedy's Irish immigrants

      [Bookseller: Fine Editions Ltd]
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        A preliminary manual of child care

      St John Ambulance Association, 1983. Paperback. Used; Good. Paperback; English language; good condition; 1983 fourteenth impression. Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent Royal Mail airmail.

      [Bookseller: Sunrise Books Ltd]
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        Welt und Gegenwelt. Umdenken über die Wirklichkeit: Die philosophische Hermetik. [Widmungsexemplar] Mit zahlreichen Fotografien und Illustrationen.

      Verlag Herder,, 1983. Erste Auflage. Basel, Verlag Herder, 1983. 21 x 20 cm. 181 Seiten Hardcover/ Gebundene Ausgabe. Sehr guter Zustand mit minimalen Gebrauchsspuren. Aus der Bibliothek des Philosophen Graham Parkes. Mit handschriftlicher Widmung (signiert) von Heinrich Rombach auf dem Vorsatzblatt: "In Erinnerung an ein Gutes Gespräch im Juni 1985 - Rombach". Widmungsexemplare Rombach's sind von grosser Seltenheit. Enthält unter anderem die folgenden Kapitel: Der blinde Schwimmer; Wortaufschüttung; Hymnen an die Nacht; Hermetik und Hermeneutik; Warum ein Gott?; Der Mythos von Hermes; Der Hirtengott; Der Gott des Raubs und des Betrugs etc.

      [Bookseller: The Time Traveller's Bookshop ]
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        Love.

      Dallas: Somesuch Press, 1983. 24pp. Inscribed by Stanley Marcus, noted miniature book collector and proprietor of the Somesuch Press, to his friend and fellow microbibliophile Donn Sanford. A collection of love poems by Shakespeare, Chaucer, and Browning, illustrated with two United States "Love" stamps and a British stamp in honor of St. Valentine's Day. Printed by the Feathered Serpent Press in black with vignettes and ornaments in bright red. This copy features a romantic designer binding by the British bookbinder Nicky Oliver. Inspired by the hints of red, small illustrations, and swirling floral motifs in the text, Oliver bound the book in fair goatskin that she painted and printed with pieces of floral lace dipped in coral-hued leather dye. The covers have a subtle sheen, and in the artist's statement she notes that "Gold foil was stenciled onto the surface of the leather and distressed to highlight the lace design." Gilt-tooled dots also trace some of the lines of the pattern and decorate all three pink edges of the book. Pieces of lace and oil-based inks were used to relief-print the pink, leather-jointed endpapers, which were also accented with subtle gilt-tooling. Housed in a handsome black quarter-morocco box adorned with decorated leather strips matching the binding and a gilt-titled pink lettering piece to the spine. Oliver's artistic background is in illustration and design, and she seeks to incorporate elements of these into her bindings. She was named a Licentiate of Designer Bookbinders in 2010 and has won several awards in their recent competitions. These achievements include "the Silver Triple" in the 2010 competition, with first prize for set book, open choice book, and the Edgar Mansfield Medal for best book. Extremely fine. (2 7/8 by 2 5/8; 73x67mm).

      [Bookseller: Bromer Booksellers]
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        VENEZIA ORIGINI. Ipotesi e ricerche sulla formazione della citt_

      Electa, 1983. cm25x23, 3 voll., pp. 775 compless., leg. e cofanetto in cartonato ill.Ottime condizioni.

      [Bookseller: Invito alla Lettura]
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        Venice Series - the complete portfolio.

      Federica Galli was born in Soresina in the province of Cremona, Italy in 1932 and studied painting at the Academy of Fine Arts, Brera, Milan between 1950-54. It was around this time that the artist discovered etching. In 1963 Galli abandoned painting to concentrate entirely on printmaking. As a result her extensive body of work spans some fifty years and boasts over eight hundred printed plates. The Venice Series was produced between 1983 and 1987 and includes 39 etchings. All the etchings are in limited editions, printed on the highest quality paper and signed by the artist.

      [Bookseller: Henry Sotheran Ltd.]
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        The Engravings of Eric Gill.

      4to. Original black cloth with cream cloth spine, design of three female figures on upper cover in blind, spine lettered in gilt; pp. xxiv545colophon; illustrated throughout with Gill's engravings, a few in colour, some folding; a fine copy in the original slipcase. Limited to 1350 copies.

      [Bookseller: Henry Sotheran Ltd.]
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        La communauté inavouable

      First edition, one of 57 numbererd copy on vélin d'Arches, this one of 7 hors commerce, n°1.Handsome autograph inscription from Maurice Blanchot to his sister Marguerite : "Pour toi, ma très chère soeur, avec ma profonde affection".A very goo copy with a moving provenance.Marguerite Blanchot, organiste de renom à la cathédrale de Chalon, demeura toute sa vie dans la maison familiale, avec sa mère et sa tante. "Elle deviendra peu à peu, pour la famille, comme la mémoire des origines." Très proche de Maurice, elle correspond régulièrement avec l'écrivain qui lui témoigne une grande reconnaissance pour son dévouement envers leur mère impotente. Si l'intense affection de Blanchot pour sa mère et sa soeur transparait dans les dédicaces de celui-ci, on ne sait presque rien de leur relations. Dans l'unique essai biographique sur Blanchot, Christophe Bident nous révèle cependant : "Marguerite Blanchot vénérait son frère Maurice. Très fière de lui, (...) elle attachait une grande importance à ses idées politiques (...). Elle lisait beaucoup (...) Ils se téléphonaient, correspondaient. A distance, ils partageaient la même autorité naturelle, le même souci de discrétion." Blanchot lui adresse en effet de nombreux ouvrages provenant de sa bibliothèque, maintenant avec elle un lien intellectuel continu. Cultivant une discrétion absolue, Blanchot poussait l'art de l'effacement jusque dans ses dédicaces manuscrites généralement succinctes et rédigées presque systématiquement sur des cartes jointes aux rares ouvrages qu'il offrait à ses proches amis. A l'opposé, dans ces précieux envois à sa mère et sa soeur, Blanchot s'offre dans toute sa fragilité et dévoile une intimité jusqu'alors inconnue. Les éditions de minuit Paris 1983 14,5x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Rage

      1983 NEL 1st Printing/1st Edition. Light shelfwear with remainder marks along top of page edges. One tiny dog-ear to bottom of one page. Otherwise a clean and solid copy with slight tanning to page edges. Additional photos are available upon request. Shipping includes insurance and delivery confirmation. Additional photos are available upon request. ALL ITEMS ARE ON-HAND. Tracking included with shipment. Fast order processing! Shipments to Alaska, and U.S. Protectorates may take 3-4 weeks to deliver without express shipping. APO addresses can take up to 3 months, (3-4 weeks with express shipping). We cannot ship to P.O. Boxes in these locations. Please provide a physical address.

      [Bookseller: Colorado Thrift LLC]
 34.   Check availability:     Biblio     Link/Print  


        Icebreaker.

      Jonathan Cape, London 1983 - First edition of the third novel by John Gardner featuring Ian Fleming's secret agent, James Bond. Octavo, original cloth. Signed by John Gardner on the title page. Fine in a fine dust jacket. Uncommon signed. Mel Watkins writing in The New York Times Book Review praised Gardner for adding "a touch of the plot subtlety of less insistently action-oriented thrillers." He also applauded Gardner's updating of Bond. "Although Mr. Gardner's Bond is less raffishly macho and arrogant than previously depicted," observed Watkins, "the spirit of the 007 series remains intact, and few Fleming admirers are likely to object. There is, in fact, something appealing about a James Bond who can react to women with some sympathy and confusion at a crucial moment." [Attributes: First Edition; Signed Copy; Hard Cover]

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


        Jean Dubuffet. Photographie Originale

      Par l'auteur. Large original black and white portrait of Jean Dubuffet, taken by Marc Trivier in Paris in 1983.Artists, strangers, madmen, abbatoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "What interested me was not simply photographing a body or a face, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre.» Trivier denudes the work of its effect and reveals the enigmatic nakedness of the photographic body. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. For all are subject to the same iron law: solitude" (Luc Desbenoit in Télérama, 05/03/2011, on the occasion of Marc Trivier's retrospective at the Maison Européenne de la Photographie). Unsigned silver prints, like most of Trivier's work. Unique proofs printed by the artist. A tear to head and to foot, traces of marginal and angular fold, not touhcing the photograph.An exceedingly rare diptych by one of the great contemporary photographers.  Par l'auteur S.l. 1983 42x42cm sur papier Ilford 60x50cm 1 planche photographique

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


        André Masson - Abattoir XI. Photographies Originales

      Par l'auteur. A pair of original black and white photographic portraits taken and printed by Marc Trivier.The two photographs are, respectively : - An original photographic portrait of André Masson. - An original photograph taken in the abattoir of Bruxelles in 1983. Artists, strangers, madmen, abbatoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "What interested me was not simply photographing a body or a face, but the curious situation of someone taking a photo of someone else." In placing his portraits of artists side by side with a divergent pair, Trivier denudes the work of its effect and reveals the enigmatic nakedness of the photographic body. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. For all are subject to the same iron law: solitude" (Luc Desbenoit in Télérama, 05/03/2011, on the occasion of Marc Trivier's retrospective at the Maison Européenne de la Photographie).Unsigned silver prints, like most of Trivier's work. Unique proofs printed by the artist. Small stain, not serious, in the margin of the abattoir, not touching the photograph.An exceedingly rare diptych by one of the great contemporary photographers.  Par l'auteur S.l. 1983 22x22cm sur papier Ilford 30x40cm 2 planches photographiques

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


        William Hayter - Louis. Photographies Originales

      Par l'auteur. A pair of original black and white photographic portraits taken and printed by Marc Trivier.The two photographs are, respectively : - An original photographic portrait of William Hayter in Paris in 1983. - An original photographic portrait of Louis taken Liège in 1984. Artists, strangers, madmen, abbatoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "What interested me was not simply photographing a body or a face, but the curious situation of someone taking a photo of someone else." In placing his portraits of artists side by side with a divergent pair, Trivier denudes the work of its effect and reveals the enigmatic nakedness of the photographic body. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. For all are subject to the same iron law: solitude" (Luc Desbenoit in Télérama, 05/03/2011, on the occasion of Marc Trivier's retrospective at the Maison Européenne de la Photographie).Unsigned silver prints, like most of Trivier's work. Unique proofs printed by the artist. Angular fold, scratch to foot, a stain and some folds in the margins of Hayter'photograph.An exceedingly rare diptych by one of the great contemporary photographers.  Par l'auteur S.l. 1983-1984 22x22cm sur papier Ilford 30x40cm 2 planches photographiques

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


        Bernard Noël. Photographie Originale

      Par l'auteur. Large original black and white portrait of Bernard Noël.Artists, strangers, madmen, abbatoirs, trees - Marc Trivier photographed each of his subjects with the same interrogative intensity. All his photographs are in the same square format, simple and confined, with no retouching or alteration of the framing, and seem less to show off a subject - famous or unknown, in or out of power, dead or alive - than to seek out a presence. "What interested me was not simply photographing a body or a face, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre.» Trivier denudes the work of its effect and reveals the enigmatic nakedness of the photographic body. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. "In his cosmogony every thing, every being - vegetable, mineral or human - deserves the same respect. For all are subject to the same iron law: solitude" (Luc Desbenoit in Télérama, 05/03/2011, on the occasion of Marc Trivier's retrospective at the Maison Européenne de la Photographie).Unsigned silver prints, like most of Trivier's work. Unique proofs printed by the artist. An exceedingly rare diptych by one of the great contemporary photographers.  Par l'auteur S.l. 1983 22x22cm sur papier Ilford 30x40cm 1 planche photographique

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


        Mutable loci in maize. [Offered with:] Some parallels between gene control systems in maize and in bacteria.

      Washington: Carnegie Institution. First edition, the very rare offprint issue, of the first of the papers documenting McClintock's discovery of 'control elements,' for which she was awarded the Nobel Prize in Physiology or Medicine, 1983. "Between 1948 and 1951, McClintock carried out a series of sophisticated experiments with variegated maize that revealed mobile genetic elements that could move from one chromosome to another. Since the mobile elements possessed the ability to alter the function of neighboring genes, McClintock called them 'control elements.' Because of the focus, in the 1950's, on the discovery by Watson and Crick of the structure of DNA and its genetic implications, McClintock's discovery of 'jumping genes' was not appreciated at the time. Although she had suggested that mobile genetic elements were probably present in insects and higher organisms, it was not until the mid-1960's that mobile elements were found to play a role in the spread of antibiotic resistance from resistant to sensitive strains of bacteria. In the 1970's, the formation of antibodies was found to be based in genetic transposition. In the late 1970's and early 1980's, it was discovered that growth-regulating genes, or oncogenes, are transposed from one chromosome to another in certain forms of cancer ... McClintock's discovery of mobile genetic elements in maize has counterparts in bacteria, animals, and humans; more-over, it also helped to explain how genes can change during evolution and to elucidate a series of complicated medical problems" (Magill 3, pp. 1435-4). The second offered paper McClintock first suggested the existence of mobile genetic elements in bacteria. "The maize cobs that we buy at the supermarket usually have yellow kernels. This is not always the case with wild forms of maize. In Central and South America where maize originated, one can still find primitive types of maize where the kernels are blue, brown or red. The colour depends on pigments in the surface layer of the kernel endosperm. The endosperm is the food store for the developing seedling. The synthesis of kernel pigments is controlled by the genes of the maize plant. In some cases one finds differently coloured kernels on the same cob. The explanation for this is that the cob is formed from a group of female flowers. Each of these female flowers may be fertilized independently by a pollen gram from a male flower. Maize cobs with differently coloured kernels arise when the pollen grains do not carry the same genes for endosperm pigments. All these phenomena can be explained on the basis of the laws of the inheritance stated by Gregor Mendel in 1866. What cannot be explained, however, and what puzzled plant breeders in the 1920's, was that maize kernels sometimes have numerous spots or dots, rather than being evenly coloured as would be expected. It was suspected that the dots on the kernels were due to the instability of genes involved in the pigment synthesis. These genes were believed to undergo mutations during the development of the kernel. Should such a mutation be inherited by several generations of daughter cells it would result in a differently coloured spot. This idea received further support when it was found that maize with variegated kernels also had broken chromosomes. The problem of variegation in maize was of slight importance from a practical point of view, but it fascinated Barbara McClintock because it evidently could not be explained on the basis of Mendelian genetics. "McClintock analyzed this phenomenon by studying chromosome changes and the results of crossing experiments in maize with different patterns of variegation. She was able to identify a series of genes on chromosome number 9 that determine pigmentation and other characteristics of the endosperm. She found that variegation occurred when a small piece of chromosome 9 moved from one place on the chromosome to another close to a gene coding for a pigment. The usual effect was to switch off the gene, and furthermore, the chromosome frequently showed a break at the site of integration. McClintock called these types of genetic material "control elements" since they clearly altered the function of neighbouring genes. In a series of very advanced experiments carried out between 1948 and 1951, McClintock mapped several families of control elements. These elements affected not only the pigmentation pattern of the maize kernels but other properties as well. She also pointed out that mobile genetic elements were probably present in insects and higher animals. In spite of this, her observations received very little attention. This was because her findings, when first presented, were overshadowed by the discovery that the DNA molecule stores the genetic information in its structure. It also became evident that mutations involving only one change in one of the building blocks in the DNA molecule could have serious effects. Under these circumstances, it is not surprising that few geneticists were prepared to accept that genes could jump in the irresponsible manner that McClintock proposed for controlling elements. The "state of the art" in molecular genetics at that time made it difficult to accept "jumping genes", and thus McClintock had to await the development of methodological tools powerful enough to verify in biochemical terms her great discovery. "In the mid-sixties, mobile genetic elements were found to play an important role in the spreading of resistance to antibiotics from resistant to sensitive strains of bacteria. This type of transferable drug resistance is a serious problem in hospitals since it causes infections that are very difficult to treat. During the 1970's, more support was found for the medical significance of mobile genetic structures. It was found, for instance, that the transposition of genes is an important step in the formation of antibodies. It has always been a mystery how the body, using a limited number of genes, can form an almost endless number of different antibodies to foreign substances. Nature has solved this problem according to the building block principle. When an individual is born, the chromosomes carry a set of mobile building blocks for antibody genes. By recombining these blocks in various ways in different cells, the body is able to generate millions of genes for antibodies. "During the last few years mobile genetic structures have attracted great interest in cancer research. In certain forms of cancer, growth regulating genes called oncogenes, are transposed from one chromosome to another. Tumour viruses in birds and mice have been found to carry oncogenes which they, in all likelihood, originally picked up from a host cell. If a virus then introduces these genes in the wrong place on the chromosomes of a normal cell, the latter is transformed into a cancer cell. "McClintock's discovery of mobile genetic elements in maize, therefore, has been found to have counterparts also in bacteria, animals and humans. "What led McClintock to devote her research to the variegation of maize kernels was that it did not lit in with Mendelian genetics. With immense perseverance and skill, McClintock, working completely on her own, carried out experiments of great sophistication that demonstrated that hereditary information is not as stable as had previously been thought. This discovery has led to new insights into how genes change during evolution and how mobile genetic structures on chromosomes can change the properties of cells. Her research has helped to elucidate a series of complicated medical problems" (Nobel Prize Award Ceremony Speech by Nils Ringertz). F. N. Magill, The Nobel Prize Winners: Physiology or Medicine, 1991; L. Pray & K. Zhaurova, 'Barbara McClintock and the discovery of jumping genes (transposons),' Nature Education, Vol. 1 (2008). 'Mutable loci in maize.' Offprint from Annual Report of the Director of the Department of Genetics, Carnegie Institution of Washington Year Book No. 47, for the year 1947-1948. [Offered with:] 'Some parallels between gene control systems in maize and in bacteria.' Offprint from The American Naturalist, Vol. XCV, No. 884, September-October, 1961 8vo, pp. 155-169 & 265-277. Self-wrappers, McClintock's name written on first page of both offprints, ink stamp of Norman H[enry] Giles (1915-2006) on the first. Giles was an American microbial geneticist who studied mutations of Neurospora crassa.

      [Bookseller: SOPHIA RARE BOOKS]
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        Theatre Costume Design / Theatre Set Designs in the Victoria and Albert Museum. 2 volumes

      Emmett Microform 1983 - Rare microfiche collection. Theatre Costume Design contains 1 - 38 microfiche sheets covering the period 1560 - 1980'. Microfiche held in plastic binder. Approx 2000 designs in colour. No paper index pamphlet. Theatre Set Designs contains approx 2000 designs covering the period 1560 - 1980's. On 25 colour microfiche sheets. Produced as a companion volume to 'Theatre Costume Design'. Includes a printed catalogue in pamphlet form containing all the information on the fiche. This collection was part of Manchester Reference Library and the binders have a reference number on spine. The pamphlet has a small stamp on inside cover. Remains of tape on covers. Good condition is defined as: a copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Most items will be dispatched the same or the next working day.

      [Bookseller: Revival Books Ltd]
 41.   Check availability:     AbeBooks     Link/Print  


        Die Kaninchen von Berlin oder Von den strengen Ordnungen.

      Berlin, Berliner Handpresse, 1983. 24 nn. S. Mit 10 ganzs. (1 davon doppelblattgr.) neunfarbigen Linolschniten von Ingrid Jörg, 1 zusätzlich auf dem VDeckel.. Fol., HLeinen, Blockbuchbindung. Spindler 86.63. - Druckvermerk von Ingrid Jörg sign. - Im Impressum sind fälschlicherweise nur neun Linolschnitte genannt. - Sehr gutes Exemplar.

      [Bookseller: Antiquariat Galerie Joy]
 42.   Check availability:     maremagnum.com     Link/Print  


        Die Zerstörung Kassels im Oktober 1943 [neunzehnhundertdreiundvierzig] : e. Dokumentation. Werner Dettmar

      Fuldabrück : Hesse 1983 - 384 S. : überwiegend Ill. (z.T. farb.), Kt. ; 29 cm + Kt.-Beil. (3 Bl.) Sprache: Deutsch Gewicht in Gramm: 550 Sprache: Deutsch Gewicht in Gramm: 25 [Attributes: Soft Cover]

      [Bookseller: Antiquariat Schloßbücher]
 43.   Check availability:     IberLibro     Link/Print  


        Sledgehammer [Sledge Hammer] (Original screenplay for the 1983 film)

      Marina Del Rey, CA: Self published, 1983. Draft script for the 1983 film. SIGNED by the director on the title page. A direct-to-video, shot-on-video slasher film released a year prior to the Video Recordings Act 1984, when the Video Nasty movement was dissolving. In the vein of John Carpenter's "Halloween" (1978), the film follows a young boy who murders his family, not with a knife like Michael Myers, but with a sledgehammer. Flash forward ten years, when a group of friends inherits the scene-of-the-crime house, a seance calls forth the ghost of the homicidal boy, who now appears as a hulking man with a transparent mask...and of course, a sledgehammer. Director Prior cast his brother, Ted Prior, an ex-Chippendale and centerfold model for "Playgirl" magazine (1984), as the lead in the film. Black illustrated wrappers. Title page present, dated 1983, noted as Synopsis, with a second title page, noted as An Original Screenplay, with a credit for screenwriter Prior. 90 leaves, with last leaf of text numbered 85. Photographically reproduced. Pages Near Fine, wrapper Very Good plus, bound internally with a silver prong brand. Lentz, p. 1527. Thrower, p. 517. Weldon (1996), p. 514.

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


        The Woman in Black.

      London: Hamish Hamilton,, 1983. Illustrations by John Lawrence. Octavo. Original green boards, titles to spine gilt. With the dust jacket. Fading to spine and along edges in the dust jacket with sunning to spine, light rubbing to corners and ends of spine. A very good copy. First edition, first impression. The Woman in Black is the basis of the second longest running play in the history of the West End, after The Mousetrap. First performed at the Stephen Joseph Theatre-In-The-Round in Scarborough, UK in 1987.

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

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