Source: https://www.vialibri.net/years/1982/2600
Timestamp: 2019-04-20 05:18:04+00:00

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NY: Holt Rinehart and Winston, 1982 Uncorrected proof for the first edition. Signed by Grafton on the title page. Perfect-bound blue printed wraps. Small date stamped two times on topedge, minimal soiling on topedge and foreedge, shallow crease on front wrap bottom corner (not immediately apparent) and narrow 1.5 inch (purple) dampstain on spine. Very Good+ condition. Signed by Author. First Edition. 8vo - over 7Â¾" - 9Â¾" tall. Galley/Proof. The images are of the book described and not stock photos.
Albondocani Press New York: Albondocani Press. 1982. First. Two page proofs and various ephemera related to publication. Loose sheets attached with a staple. Fine. Quarto and octavo page proofs along with proofs of the spine label and an alternative half-title and prospectus. A previously uncollected tribute distributed in a limited edition of 212 copies. .
NY: Holt, Rinehart & Winston, 1982. hardcover. F/F+. 1st edition, 1st printing INSCRIBED by author on title page. An outstanding copy! We offer a LIFETIME GUARANTEE. See KHBOOKS for details.
NY: Red Ozier Press, 1982. Hardcover. Very good. A fine copy in publisher&#39;s gilt pictorial iridescent orange cloth produced by Twelfth Night Bindery,five illustrations by Noguchi including a double page plate; printed in four colors in Goudy&#39;s Deepdene types on handmade paper formed by Twinrocker Mill. Number 28 of 155 copies signed by Noguchi and Ford on the half title. The press&#39; first book and one more uncommon titles. A scarce collaboration between one of the most celebrated twentieth sculptors and the great voice of Surrealism in America.
Thames and Hudson Ltd London: Thames and Hudson Ltd. 1st Edition. Hardcover. Fine. FIRST EDITION, WITH AN ORIGINAL LITHOGRAPH SIGNED BY DAVID HOCKNEY. One of only 1000 copies signed by Spender and Hockney. With the original folding five-color lithograph ("Red Square and the Forbidden City") signed in pencil by Hockney loose in printed card sleeve; book with 158 illustrations, 84 in color. London: Thames and Hudson Ltd, 1982. Quarto, original red cloth gilt, original card slipcase with printed label. Slipcase very good with some rubbing and spotting; book, lithograph, and folder fine.
Los Angeles: Printed to celebrate the 75th birthday anniversary of John H. Urabec, 1982 First edition in this format. The colophon states: "Five copies only printed on Urabec-Hoffman all-rag handmade paper by members of the Columbian 415 Chappel in April, 1982." (Another issue states on the colophon: "Twenty copies printed and bound by members of Columbian 415 Chappel in April, 1982.") This copy is inscribed by the printer, Richard J Hoffman, "For Belaâ€”a real craftsman. Bound by Bela Blau in quarter brown morocco over marbled boards. Folio. 51 cm. . Light shelfwear, but very good to fine.
Santa Fé: Amaranth Press, 1982. First edition.. Hardcover. Fine. Yes. 4to. xvii, 77pp. No. 26 of 90 copies (from a total edition of 110 copies). Bound by the Harcourt Bindery in quarter white vellum, gilt titles on the spine and upper bard, patterned paper boards . Dark green endpapers. Printed on handmade paper especially made for this edition by Twinrocker Paper Mill. The typeface is Jan van Krimpen&#39;s Lutetia, cast by Joh. Enschedén in Haarlem. Initial letters opening the Latin verses were designed by Mark Livingston and hand-colored at the press. Contains the Latin text of the medieval hymns Dies irae, Stabat mater dolorosa, Stabat mater speciosa, Veni Sancte Spiritus, Veni Creator Spiritus, Vexilla Regis, and Te Deum (all from Analecta hymnica Medii Aevi, Leipzig, 1886-1922), together with 18 translations of those hymns. Linnea Gentry moved her Amaranth Press from San Francisco, where she had established the it in the mid-1970&#39;s. Aside from her commission work, she published one fine book during her New Mexico years: this one. It is a masterful example of fine bookmaking celebrating sacred verse. It was featured not only in an exhibition at the Palace of the Governors in Santa Fé but highlighted in Smith&#39;s &#39;Passions in Print&#39;. This is a fine copy of a superb example of fine printing.
New York: Metro-Goldwyn-Mayer / Broadway Pictures. 1982. Screenplay. Quarto. 70pp. Screwbound in black duplicating service wrappers with gilt lettering. Near fine with some light wear and rubbing to the wrappers. The screenplay for the unreleased cult film by Tom Schiller, an original Saturday Night Live writer responsible for many of its early taped segments, including "Java Junkie" and "Don't Look Back in Anger" (notable for an aged John Belushi as the last surviving SNL alumnus dancing on the graves of fellow cast members). This surreal film follows a young artist returning to New York, now run by the Port Authority, and his subsequent recruitment by an underground tramp community that secretly rules the world. The picture starred Zach Galligan as the artist with appearances by Dan Akroyd, Imogene Coca, Mort Sahl, Eddie Fisher, and Bill Murray in an early film role as a "menacingly-friendly" lunar bus host. According to Schiller, the film was made to get SNL producer Lorne Michaels out of an MGM development deal: "I think they thought it was low budget or something to get off the hook of their contract, but I had total freedom. No one was watching hardly and I got to make a personal film with a studio crew." The film was at first accepted for entry at Cannes but a poor test screening and the film's own quirky style, which interspersed black and white stock footage of New York with new color scenes of the underground, ultimately doomed the film's release. Aside from an appearance on late night TV in Europe, the film was not released theatrically or to home video. The film was rediscovered by audiences after Murray insisted it be included in a retrospective of his work, creating a demand for its release on DVD for which MGM has so far not responded. OCLC locates no copies. .
Paris: Fondation Nationale de la Photographie - Photo Poche, 1982 Cartier-Bresson Henri. HENRI CARTIER-BRESSON [et Jean Clair]. Inscribed. Association Copy. Paris: Fondation Nationale de la Photographie - Photo Poche - Delpire, Paris, 1982. Sm. 8vo., 145pp. [French text] Inscribed by Henri Cartier-Bresson to his close friend, writer & photographer, James Lord [&#39;Plausible Portraits of James Lord: With Commentary by the Model&#39;, 2003] with a reference to Gérard [Macé] who is poet, writer, photographer & also a close friend of Cartier-Bresson - on the inside front cover: "A James / ce petit memento / + la pensée de / Gérard sur / la photo. / Avec toute / mon amitié / Henri". First edition. Glossy photographic wrappers. First edition of the second volume in the outstanding collection created by Robert Delpire in 1982 at the Centre National de la Photographie. Contains 64 full page photographt by HCB. A fine bright copy. . Signed by Author. First Edition.. Illus. by Henri Cartier-Bresson..
NY: Alfred A. Knopf, 1982. First edition, first printing. Hardcover. Fine/Fine. Yes. 8vo. xi(i),876,(iv)pp. Black cloth spine, dark gray paper over boards, both blocked in copper foil. A trace of sunning along the top and a touch of foxing on the top edge else a fine copy. The dust wrapper is not price-clipped and is also fine. Inscribed by the author in the title page: "For George". The author was involved with the Society for Creative Anachronism ("SCA"). In 1968 The East Kingdom was founded in the SCA; it was started by Elfrida and Walter of Greenwalls (Marion Zimmer Bradley and her then husband Walter Breen). The Annotated History notes the following about the first Kingdom event (June 2, 1968 - AS III): "Held at the Cloisters, New York City, New York. A tourney was planned but it was rained out. Elfrida and Walter of Greenwalls were the seneschals and the autocrats..." This copy is signed on the title page, not on a plate or slip of paper pasted in. "Historical writing on a grand scale, with all the magic conviction and resonance of ballad and ancient lore." - Barron (ed), Fantasy Literature 4A-48.
NY: The Limited Editions Club, 1982. First edition, limited to 2000 numbered copies. Selected and illustrated by Henry Pearson. Introduction by Thomas Flanagan. Preface by Heaney. Copy #1570. All copies signed by Heaney, Flanagan and Pearson on the limitation page. Typographic design by John Anderson of the Pickering Press. Text and illustrations printed by Daniel Keleher on one hundred pound letterpress paper with laid finish made by Mohawk Mills and used in this book for the first time. Full leather with gilt lettering on spine. Paper-covered slipcase. Publisher's announcement letter and insert for care of leather-covered boards laid-in. Issued without dustjacket. Small light rubbed area on rear board leather; otherwsie in Fine condition in a Fine slipcase. Signed by Author & Contributors. First Edition. Hardcovers.Â The images are of the book described and not stock photos.
1982. Photo. Measuring 8" x 9.5". Fine. Inscribed by Berrigan: "for Bob from his friend in the 'Truck Trade,' Love Ted Berrigan." A striking photograph of a shirtless Berrigan smoking a cigarette by Mark Hillringhouse. The date is pencil on the verso: "Oct. 1982." .
New York: E.P. Dutton, 1982 First Edition. Review copy with the publisher&#39;s material laid-in. A fine copy in 1/4 white over blue cloth covered boards, gilt titles to the spine in a fine pictorial dustwrapper. Stunning Copy. 8vo. 242 pp.. 1st Edition.
1982. An original photograph of Borges by Layle Silbert, taken in the Trustees Room of the New York Public Library, September 30, 1982. Together with two sets of contact sheets with 56 images of Borges (many in conversation with others, and most or all presumably unpublished) from the same evening. Borges&#39; visit to New York was sponsored by NYU&#39;s New York Institute for the Humanities, directed that year by Edmund White. Silbert is a prominent photographer of literary figures, as well as a writer herself. Four of her literary portraits are in the National Portrait Gallery. Approximately 7" x 10"; tiny corner crease to one margin; photographer&#39;s marks on six of the smaller images; else fine, with Silbert&#39;s stamps on verso. .
Barrytown, New York: Open Book. Fine; Signed by Author & Illustrator. 1982. Limited Edition. Cloth. 0940170086 . A most attractive Limited Edition in Fine condition. Limited to 350 copies, of which only 100 were for sale, this one being #66. SIGNED by both the author and illustrator Jim Harrison and Diana Guest directly on the half-title page; Original poetry by Jim Harrison and black-and-white plates by sculptor Diana Guest; B&W Photographs .
MEHRA, JAGDISH & HELMUT RECHENBERG.
The Historical Development of Quantum Theory. The first 4 volumes.
Ediciones Dos Amigos Buenos Aires, Argentina: Ediciones Dos Amigos. 1982. One of 30 copies, all on buff Okawara hand-made paper, printed in purple ink. Bound: loose in original buff wrappers, housed in blue and black paper over boards clamshell box, fine. Page size: 24 leaves; 10-1/2 inches x 8-5/8 inches. Handset in Garamond 20pt. by Claudio R. Lopella and printed letterpress under the supervision of Cesar Palui. An elegant edition of this poem of love and sadness, from TWENTY POEMS OF LOVE AND A DESPERATE SONG originally published in 1924. See an Image.
Ballantine Books / Del Rey New York: Ballantine Books / Del Rey. (1982). First. First edition. Fine in fine dustwrapper. Inscribed by Arthur C. Clarke to his protege, one-time secretary, and longtime friend Ian Macauley, who was the dedicatee of his first hardcover novel (Islands in the Sky): "To Ian & Marnie & Simon, with my very best wishes. Arthur, 12 Nov. '82." Macauley was an award-winning New York Times journalist who also edited Clarke's book of collected essays, Greetings, Carbon-Based Bipeds! (2000). Clarke wrote the last chapter of Childhood's End while visiting Macauley in Atlanta in 1952, where he was reportedly greatly influenced by their discussions. Basis for the 1984 film, written and directed by Peter Hyams, and featuring Roy Scheider, John Lithgow, Helen Mirren, Bob Balaban, and Keir Dullea (reprising his role from Stanley Kubrick's classic 2001: A Space Odyssey). A splendid association copy. .
Kassel, Germany, 1982. Each gelatin silver print documents a different facet of the project. The postcard depicts a drawing of a grown tree next to a then dwarfed slab of rock, and is boldly signed in red by the artist. On the verso of the postcard is typed "I need Dobromir and Dobromir needs me - July 1982 Kassel," referring to sculptor Dobromir Ivan, who was studying with Beuys at the time, and is presumed to be the photographer of the accompanying prints. Please contact me for images of the entire group. On the verso of two prints is an unidentified logo/label printed in purple.. Signed by Artist. Photograph.
Grafiken zum Jubiläum 100 Jahre Kieler Woche. Hrsg. v. Galerieverbund Kiel (GVK). O.O., 1982. 1 Textblatt und 5 Orig.-Graphiken von H. Duwe, E. Göttlicher, J. Roman, C. Imme und W. Defant. Je nummeriert und signiert. Zwischen 32 x 40,5 cm und 40,5 x 57 cm. Gr.-Fol. Lose in OLwd.-Mappe (Mappe etwas angestaubt).
Eines von 125 numerierten Exemplaren.- 1. Nur für die Kieler Woche! Farbradierung von Erhard Göttlicher. 2. Rathausplatz. Lithographie von Christian Imme. 3. Spiellinie. Farblithographie von Harald Duwe. 4. Kieler Woche Blatt. Farbradierung von Jochem Roman. 5. Theater. Lithographie von Wolfgang Defant.
Chatto & Windus The Idler February 1982 to January 1897, 8 vols.Includes "The Stark Monro Letters" by Doyle and "The Adventures of Sherlaw Kombs" by Luke Short.Nice and tight copies but corners and spines are bumped.Obs: They are heavy so think of postage! It might be cheaper to come and get them yourself.
New York: McGraw Hill, (1982). First Edition. Tall quarto. A fine association copy, INSCRIBED in the year of publication by Abbott to photographer Arnold Newman: "To Angela and Arnold / with good memories of / Many, Many years / Berenice Abbott / December 7 1982." This copy is additionally signed by Abbott. Laid in is an article from Yankee Magazine about Abbott, for which Newman took her portrait. The article is SIGNED by Abbott. Fine in a near fine jacket with Newman&#39;s trademark painted dot on the spine of the dust jacket to denote an inscribed book from his library.
Offered is a special copy of the first edition with an original, signed dated presentation drawing by Michael Graves, done in charcoal in line with shading over the full extent of the 220 x 280 mm endpaper sheet for an unnamed recipient, showing a private residence on a hilly site with 2 trees under a largely sunny sky, the front façade rendered with some detail, house situated below an unidentified ridge with trees, sky with centered cloud, shadows done for the house and its 2 adjacent trees, sheet with border, including a wittily turned bottom corner, as if this was 1 study in a portfolio for the residential project. The independently published 2nd volume in series documenting Graves' buildings and projects, originally sold for $50 (the first volume, published by Rizzoli in 1982, on his buildings and projects 1966-1981). CONDITION DETAIL: Presentation: pristine. Endpapers: some offset from original drawing to facing front endpaper pastedown: rear endpapers pristine. Pages: pristine except p. 258 with margin soiling. Boards: pristine. Binding: excellent. Jacket: G+: overall rubs: bright and clean: needle-size puncture at gutter, below top corner: slight top and bottom edge wear, but no tears or chips. ORIGINAL DRAWING: later presentation done with considerable care for unnamed recipient, no inscription-signed Graves in characteristic style in large letters, name rendered like a loosely drawn topographical boundary, capital G extending 40 mm, dated '98 (at foot), done in charcoal in line with shading over full extent of 280 x 220 mm (11.02 x 8.66 inches) sheet. FORMAT: Publisher's woven cerise cloth with gilt letters in the sewn binding and dark cyan coated paper jacket, upper jacket with pink-orange & black letters and central panel reproducing in full color a Graves building design. SIZE: 288 x 230 mm or 11.34 x 9.06 inches, as issued. PAGINATION: Confirmed complete; (5) pages, preliminaries, including title page in black letters decorated with b/w sketch, verso with b/w portrait photo of Michael Graves with thumbnail biography, 6-351 pages,  rear blank page, contents, introductory essay, pp. 7-14 on Graves return to, "a traditional conception of an architectural language with figural elements", index of buildings & projects, pp. 16-17; Maxwell essay, pp. 333-340, projects documentation begins at p. 18, 300 projects documented, 120 buildings and numerous designs for furniture, textiles, ceramics, housewares, and Grave's art, paintings, murals, prints, and stage sets, with 804 illustrations, 433 color (371 b/w), with design sketches, measured drawings, and photographs of building and design models, and completed buildings and designs; rear list of awards, bibliography, pp. 342-348 includes selected writings on Graves and selected writings of and interviews with Graves. Buildings include: Humana Building, Louisville; San Juan Capistrano Library; Crown American Corporate Headquarters, Johnstown; Emory University Museum of Art and Archaeology, Atlanta; Whitney Museum of American Art, New York; Sotheby's Apartment Tower, New York; Clos Pegase Winery; Newark Museum; Metropolis Mixed-Use Master Plan, Los Angeles; Sarah Lawrence College Sports Center; Dolphin & Swan Hotels, Walt Disney World and Hotel New York, Euro Disneyland. Product designs include those done for: Atelier International, Steuben Glass, Alessi, and Baldinger Architectural Lighting. ADDITIONAL IMAGES: by request.
New York City, NY: ULAE Incorporated, 1982. First Edition. First Printing.. Hardcover. As New/No Dust Jacket, As Issued.. New York City, NY: ULAE Incorporated, 1982. Hardcover. As New/None, As Issued. First Edition/First Printing. 70 pages. Collection of photographs on subject. One of the greatest photography books of the 20th century. The First Hardcover Edition. Precedes and should not be confused with the Softcover Edition. There is no ISBN. An austerely elegant production by Robert Rauschenberg: Oversize-volume format. White linen cloth boards with metallic-silver titles beautifully embossed on the cover and spine, as issued. Photographs by Robert Rauschenberg. Essay by Colta Ives. Matching white linen cloth slipcase. Printed on thick uncoated stock paper in the United States to the very highest standards. Without DJ, as issued. Presents the great artist&#39;s collection of black-and-white photographs on New York City, the partial fulfillment of his 30-year-old wish to photograph the entire United States, a project he never completed. Showcases his unique approach to photography as a process of discovery, selection, and assemblage of objects from everyday life. One of the least well-known facts about Rauschenberg is that he began his career as a photographer. He makes no distinction between his photography and his painting, and he brings the same acute eye to both. The photographs, like the paintings, are formally rigorous, sensuous, and piercing. His celebrated method of appropriating found images and objects to capture the fabric, tempo, and "feel" of modern life is photographically-inspired and characterizes his large body of work. The idea of appropriation is not unique to Rauschenberg. It is a central tenet of Surrealism and continues to be the latter Movement&#39;s enduring legacy. What makes Rauschenberg&#39;s work unique is the way he has "set in motion an interplay of shapes in which the human form is integrated to a rigorous yet flamboyant sense of design, pictures in which art and real life coincide" (Pontus Hulten). "A protean genius who showed America that all of life could be open to art. Rauschenberg didn&#39;t give a fig for consistency or curating his reputation; his taste was always facile, omnivorous, and hit-or-miss, yet he had a big-ness of soul and a richness of temperament that recalled Walt Whitman" (Robert Hughes). "Mine is the need to be where it will always never be the same again. Photography is the most direct communication of non-violent contacts" (Robert Rauschenberg). A "must-have" title for Robert Rauschenberg collectors. <b><i> This copy is very prominently and beautifully signed in charcoal pencil by Robert Rauschenberg. It is signed directly on the page, not on a tipped-in page even though it comes from the publisher. The signature beautifully matches the facsimile of his signature on the book&#39;s cover and title page. This title has been out-of-print for more than twenty-five years and is now highly collectible. This is one of very few signed copies of the First Hardcover Edition/First Printing still available online and has absolutely no flaws, a pristine beauty. Many copies have major flaws because the color white soils very easily. According to dealers who knew him, Rauschenberg basically stopped signing books in the 1990&#39;s. Signed copies still available online are vintage, not recent, and very few. A rare signed copy thus. </b></i> 70 tritone plates. One of the greatest artists of the 20th century. A flawless collectible copy. (SEE ALSO OTHER ROBERT RAUSCHENBERG TITLES IN OUR CATALOG).
LA TORTA. Versione del 'Moretum' della 'Appendix Vergiliana'.
In-4 gr., bross. orig., custodia, pp. 20,(4), con 4 pregevoli xilografie originali di Alberico Morena, numerate e firmate dall?artista. Il poemetto latino "Moretum", attribuito a Virgilio, è seguito da "La Torta", versione italiana di Leopardi. Volume 2° della collana "Aloni" ideata da Ines e Gaetano d?Ambrosio e pubblicata in 115 esemplari numer. Il ns., 67, appartiene alla tiratura di 75 contrassegnati da numeri arabi. Molto ben conservato.
Paris: Pierre Bordas, 1982. First edition. Hardcover. Loose as issued in original lithographed stiff wrappers. Fine in fine original publisher&#39;s clam shell cloth case./No Dust Jacket. Unpaginated. 30 1/2 x 24 cm. Limited edition, copy 93 of 150 signed by Fernand Mourlot and Castor Seibel. The cover is an original color lithograph by Jean Dubuffet, there are also three additional color lithographs by him; two color lithographs by Picasso, Matisse, Leger and Chagall, and one each by the following -- Derain, Braque, Calder, Esteve, Paul Delvaux, Cocteau, Prevert -- plus a host of black and white lithographs [Van Dongen, Courbusier, Cocteau, Matisse, Dubuffet] in the text and a color acrostic by Louis Aragon. The synapse or "meme" [the spreader of culture] is here undoubtedly Mourlot, represented by a series of letters and correspondence in facsimile from the artists to Mourlot. Lovely, bright and fresh copy.
West Kingston, RI and Hampton Falls, NH: Donald M Grant, 1982, 1987, 19911997, 2003, 2004, 2004, 2008, 2012, 1st Edition, 1st Printing for All, All are # 433 of the Signed, Slipcased Limited Editions -----------12 volumes for the 9 book series, hardcovers, all are Fine copies in Fine dustjackets, these look new but close, close inspection MIGHT reveal TINY marks to a jacket but honestly these are incredibly sharp copies and virtually as issued, WIZARD, CALLA and TOWER are two-volume sets as issued ( thus 12 volumes for the 9 book series ), all books have been SIGNED by KING and the artist for that volume (although WIZARD, CALLA and TOWER have book ONE of each two-volume set signed and numbered only), all are # 433 of the limited editions, so all are signed and numbered with the same # -433, all housed in Near Fine/Fine slipcases, a couple of slipcases have a wee bit of very light rubbing and a bit of fading along edges from a bit of sunning, The Wind Through the Keyhole is still in shrinkwrap and is therefore Very Fine, this is the complete GUNSLINGER / ROLAND DESCHAIN series with the first 7 books comprising the bulk of the story, ELURIA contains a story about Roland and the Man in Black which pre-dates (in story, not publication) the GUNSLINGER (about 90 pages), as well ELURIA contains an expanded version of The GUNSLINGER, KING has written about this expanded edition ---"What I did want to do was to give newcomers to the tale of the Tower (and old readers who want to refresh their memories) a clearer start and a slightly easier entry into Roland&#146;s world. I also wanted them to have a volume that more effectively foreshadowed coming events. "---, KEYHOLE is the newest addition to the cycle having been released in 2012, you are likely never to see another set like this offered, ---apparently RON HOWARD is going to film the Gunslinger as a movie which will be followed by a major television series production, a movie project that will surely result in a new round of interest in this extremely popular book series, any image directly beside this listing is the actual book and not a generic photo. Signed. First Edition. Hard Cover. Fine/Fine. Illus. by Michael Whelan; Phil Hale; Ned Dameron; Dave McKean; Bernie ( Berni ) Wrightson; Darrel Anderson; Jae Lee -all Signed.
New York: New York: Simon & Schuster, (1982)., 1982 McMurtry, Larry. CADILLAC JACK. Signed. New York: Simon & Schuster, (1982). First Edition Inscribed and Signed by Larry McMurtry to fellow author Edward Abbey. "For the Abbey - the most peculiar book I ever wrote I think." Additionally, Signed by Edward Abbey on the bottom edge, as was his custom with books in his library and then Signed on the front dustwrapper flap by Abbey with an arrow pointing to the next name he wrote, Peacock and then another arrow to the name Spaulding. A better than very good copy in 1/4 red cloth over gray paper covered boards, gilt titles slightly oxidized in a bright, fresh near fine dustwrapper. 8vo. 395 pp. An extremely nice copy.  $8500. Signed by Author. 1st Edition.
Vincent FitzGerald & Co. New York: Vincent FitzGerald & Co.. 1982. One of 125 copies all on Somerset handmade paper, watermark: "Somerset" / "England"), the first 25 of which were signed by the artist and the translator. Page size: 9-7/8 x 7-5/8 inches; 9 triptych fascicles each with a poem in French and an English translation of the poem; inbetween is an image of Rimbaud, with titlepage and colophon fascicles. Bound: loose as issued in blue cloth clamshell box with title stamped in red on front cover. The illustrations by Peter Thompson were printed on Arches paper at Meriden Gravure, with the exception of the first which is a tipped-in photograph of a color painting, an interpretation of the young Rimbaud by Thompson. The text was printed in charcoal gray ink, catching the delicate drawings by Thompson, by Dan Keleher's Wild Carrot Letterpress, and designed by Vincent FitzGerald and Robert Reitzes. The second book of the press, a simple yet elegant book. THEMES AND VARIATIONS, p. 88. See an Image.
Open Book New York: Open Book, 1982. Limited Edition. One of 350 copies, of which only 100 were for sale (and this being No. 56), signed by both Harrison and Guest on the half-title page. Fine and unread without dust jacket as issued. A charming edition of poetry accompanied by black and white images of Guest's sculptural work.
Open Book Barrytown, New York: Open Book. Fine; Signed by Author & Illustrator. 1982. Limited Edition. Cloth. 0940170086 . A most attractive Limited Edition in Fine condition. Limited to 350 copies, of which only 100 were for sale, this one being #66. SIGNED by both the author and illustrator Jim Harrison and Diana Guest directly on the half-title page; Original poetry by Jim Harrison and black-and-white plates by sculptor Diana Guest; B&W Photographs .

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