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


         The Engravings of Eric Gill

      Christopher Skelton, Wellingborough, Northamptonshire 1983 - Published by Eric Gill's nephew, Christopher Skelton, 1983. Hardcover. Condition as new. Appears unread. First edition limited to 1350 copies. A beautiful edition of Eric Gill's engravings printed on acid-free Mohawk Superfine Text with binding by Smith Settle of Bingley. Black cloth boards with front blind stamped with Gill's three nudes design created in 1938. 4to. Cream cloth to spine with gilt title; pp. xxiv + 545 + colophon. Illustrated throughout with Gill's engravings, a few in colour, some folding. Original slipcase in near fine condition. In addition to the engravings, the book also contains 'Eric Gill: A Personal Record' by Douglas Cleverdon, 'Gill The Engraver: A Survey' by Christopher Skelton together with cross referenced lists of engraving numbers, selected sources and bibiliography, checklist of books containing engravings and an index. A production of the highest aesthetic quality that stands as an egregious testament to the artistic skills of Gill. A blemish-free, extremely well preserved copy. A very large and heavy book that might involve extra shipping charges. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shaftesbury Books]
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         THE LIFE OF SAMUEL JOHNSON Franklin Library

      Franklin Library 1983/84, Franklin Center, Pennsylvania - 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 [Attributes: First Edition; Hard Cover]

      [Bookseller: Rare Book Cellar]
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         Oeuvres Complètes - Complet En 9 Volumes

      Paris, Aux éditions du club de l'honnête homme 1983 - in-8 relié Complet en 9 volumes In-8 (236x165 mm). Livres reliés, Simili-Cuir éditeur sous étuis de velours noir, Tranche supérieures dorées. Notices de Roger Grenier. Illustrations en noir in-fine de chaque volumes. Etuis de velours un peu poussiéreux sinon très bon état général. Poids: 9830 gr. [Attributes: Hard Cover]

      [Bookseller: Hairion Thibault]
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         Weasels at Work

      The Morrigu Press January 1983 - A LIMITED EDITION of only 75 numbered copies SIGNED and NUMBERED by the author on the limitation page, of which this is 'Number 53'. One folded sheet within the publisher's brown sewn wraps with title label printed in red attached to the front cover. Now in a clear, removable, archival protective sleeve. This work was printed during January 1983 on an Albion hand-press, in 14 point Perpetua, on Roma paper hand-made by Milano Fabriano. A booklet in Fine condition. The Morrigu Press was founded by Nicholas Hughes, Ted's son, when he was 18 years old. He had received the gift of an Albion handpress from his aunt, Olwyn Hughes, and between 1979 and 1983 printed and bound over 20 poems by hand in limited editions. Except for one poem by Charles Causley, Nicholas exclusively printed Hughes's poems. Hughes would complete a poem, and pass it on to Nicholas to be set up in type. The early publications appear as broadsides, and from 1982 Nicholas moved to printing booklets. They achieve a harmonious relationship between the poem and the page through simple yet elegant designs, created with high quality materials such as handmade paper. A83 Sagar and Tabor [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: OJ-BOOKS]
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         The Caribbean Poetry of Derek Walcott and The Art of Romare Bearden

      New York: Limited Editions Club, 1983. Cloth. Fine. Romare Bearden. Illustrated by Romare Bearden. Introduction by Joseph Brodsky. Limited Edition (603/2000). Signed by Walcott and Bearden on the limitation page. Includes the orignal, numbered litograph (11/275). Fine in a near fine, lightly rubbed slipcase. Beautifully decorated cloth binding. A tight and clean copy. Also included with the book are various contemporary clippings about Walcott and Bearden from news publication. More interesting, there is a Bearden-designed 4.5"x6.5" card that reads on the inside, "The Limited Editions Club invites you to a celebration for Romare Bearden & Derek Walcott Poems of the Caribbean Wednesday, June 8th, 1983 six to nine p.m. The Water Club | The East River at 30th Street."

      [Bookseller: Carpetbagger Books]
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         IL PRINCIPE DI HOMBURG

      RIZZOLI, 1983. INTERLINGUE 0,19 Introduzione e traduzione di Luigi Lunari, con testo tedesco a fronte, pagine brunite da fattore tempo, brossura editoriale morbida, illustrata, leggermente ingiallita al dorso e con lievi segni di usura ai bordi, piccolo segno di bruciatura al bordo laterale del piatto anteriore ed alla pagina sottostante USATO

      [Bookseller: Biblioteca di Babele]
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         Hockney Paints the Stage - Signed with drawing by David Hockney

      Abbeville Press (NY) 1983 - Abbeville Press (NY) 1983. VERY GOOD in large illustrated wraps. SIGNED with a small drawing by David Hockney on the half-title page. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Chris Grobel]
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         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]
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         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]
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         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]
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         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]
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         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]
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         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]
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         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]
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         René Char - Abattoir en ruine. Photographies Originales

      Par l'auteur 1983 - - Par l'auteur, s.l. 1983-1984, 22x22cm sur papier Ilford 30x40cm, 2 planches photographiques. - Diptyque de portraits photographiques originaux en noir et blanc réalisés et tirés par Marc Trivier. Les deux photographies, mises en regard, sont: - Un portrait photographique original de René Char à L'Isle-sur-la-Sorgue en 1983. - Une photographie originale d'un abattoir en ruine à Bruxelles en 1985. Portrait d'artiste, d'anonyme, de fou, d'abattoir ou d'arbre : Marc Trivier a photographié chaque sujet avec la même intensité interrogative. Toutes réalisées dans le même format carré, élémentaire et clos, sans retouche ni recadrage, les photographies semblent moins mettre en scène un sujet - célèbre ou inconnu, élu ou déchu, vivant ou mort - qu'interroger une présence. «Ce qui m'intéressait, ce n'était pas de photographier simplement un corps ou un visage, mais cette situation particulière qui est quelqu'un en train de faire la photo de quelqu'un d'autre.» En confrontant les portraits d'artistes à leur correspondant altéré, Trivier dévêt l'oeuvre de ses effets et dévoile l'énigmatique nudité du corps photographique. "Dans sa cosmogonie, chaque chose, chaque être, végétal, animal ou humain, mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. " (Luc Desbenoit in Télérama, le 05/03/2011 à l'occasion de la rétrospective Marc Trivier à la Maison Européenne de la Photographie). Tirages argentiques non signés, comme la plupart des oeuvres de Trivier. Epreuves uniques tirées par l'artiste. Rarissime diptyque d'un des grands photographes contemporains. Provenance : Collection particulière de Paule Thévenin. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] 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. [Attributes: First Edition]

      [Bookseller: Librairie Le Feu Follet]
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         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]
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         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]
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         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]
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         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]
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         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]
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         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]
 21.   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]
 22.   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]
 23.   Check availability:     NVvA     Link/Print  


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

      Franklin Library, Franklin Center Pennsylvania 1983 - 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 [Attributes: First Edition; Hard Cover]

      [Bookseller: Rare Book Cellar]
 24.   Check availability:     AbeBooks     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]
 25.   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]
 26.   Check availability:     AbeBooks     Link/Print  


         TWENTY THOUSAND LEAGUES UNDER THE SEA

      Franklin Library, Franklin Center, Pennsylvania 1983 - 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 [Attributes: First Edition; Hard Cover]

      [Bookseller: Rare Book Cellar]
 27.   Check availability:     AbeBooks     Link/Print  


         Teenage Lust

      New York, Larry Clark (1983) - 11 1/2 x 8 3/4 inches, unnumbered pages, wrappers, Signed by the photographer on title page. First Edition edition. Fine. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Dawson's Book Shop, ABAA, ILAB]
 28.   Check availability:     AbeBooks     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]
 29.   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)]
 30.   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]
 31.   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]
 32.   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. 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. 72 gravure plates. One of the most brilliant photographers of the 20th century. A fine collectible copy. .

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


         Computational Methods for Fluid Flow

      Springer-Verlag, NewYork 1983 - Springer series in computational Physics INGLESE Volume della serie Springer series in Computational Physics. Brossura come nuova. Alcune pagine con sottolineature a penna blu.

      [Bookseller: Biblioteca di Babele]
 34.   Check availability:     AbeBooks     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]
 35.   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]
 36.   Check availability:     AbeBooks     Link/Print  


         Niemeyer-Holstein, Otto. - "Hafen Lüttenort".

      - Radierung / Vernis mou, in Schwarz, auf hellem Büttenkarton, 1983. Von Otto Niemeyer-Holstein. 24,7 x 31,9 cm (Darstellung / Platte) / 40 x 56 cm (Blatt). Schmidt-Sohler-Lau 188. Rechts unten in Bleistift signiert. - Druck von Ernst Lau. - Tadelloser Zustand. Otto Niemeyer-Holstein (1896 Kiel - 1984 Lüttenort). Deutscher Maler und Grafiker. 1914-16 Kriegsfreiwilliger. 1919 Malkurse bei Arthur Segal in Ascona, später in Berlin. 1920 einige Monate in der Kunstakademie in Kassel. 1923 lernt er Paul Klee und Lyonel Feininger kennen. 1924 Gründungsmitglied der Künstlergruppe "Der große Bär" in Ascona. Lebt im 2. Weltkrieg zurückgezogen auf der Insel Usedom. 1953 gerät er zwischen die Fronten der Formalismusdebatte der DDR. 1954 Ausstellung in der Kunsthalle Mannheim, 1961 in der Nationalgalerie Berlin. Zahlreiche Auslandsreisen. 1964 zum Professor berufen. 1969 Mitglied der Akademie der Bildenden Künste Berlin. 1981 Ausstellung in der Kunsthalle Rostock. Sprache: Deutsch [Attributes: Signed Copy]

      [Bookseller: GALERIE HIMMEL]
 37.   Check availability:     AbeBooks     Link/Print  


         Japan`s Tattoo Arts: Horiyoshi`s World (Nihon Shisei Geijutsu Horiyoshi)

      Ningen no Kagakusha ; Keibunsha 1983, 1987, Tokyo - Complete two volume set with original dust jackets and slipcases. Minor scratches and marks to slipcases, wear to extremities. Light wear to dust jacket extremities. Minor marks to contents, occasional damage to page gutters where the pages have been opened by force. Binding of volume one starting. A few signatures of volume two shaken. A set of colour photo-books on tattoo masterworks drawn by the famous Japanese tattoo artist Horiyoshi II. Volume one is copy 1322 of a limited edition of 2000 first edition copies. Originally published only as one volume. Rare as a complete set. 175, 113 p. First edition, first printing. Text in English and Japanese. Extra shipping charges may be applied due to size and weight of item. [Attributes: First Edition; Hard Cover]

      [Bookseller: Kagerou Bunko (ABAJ, ILAB)]
 38.   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]
 39.   Check availability:     maremagnum.com     Link/Print  

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