Search Results: Titles starting with L from Riverrun Books & Manuscripts

New York, 1978. First edition. Fine. 4to. [28] pages. Self-wrappers, stapled. The back cover reproduced a 1920 collage by Laszlo Moholy-Nagy from Richard Kostelantz's 'Moholy-Nagy' (1970). This issue of Andrews and Bernstein's landmark journal of the Language poets opens with an essay by Ron Silliman on Louis Zukofsky, and later includes Silliman's classic distillation "For L=A=N=G=U=A=G=E." Other contributors include Eric Mottram, Richard Foreman, Bruce Andrews, Michael Gottlieb, and Joseph Timko.

New York, 1979. First edition. Fine. 4to. [32] pages. Self-wrappers, stapled. Contains contributions by Nick Piombino, Jerome Rothenberg, Bob Perelman, Lynne Dreyer, Michael Lally, Clark Coolidge, Alan Davies, Jackson MacLow, Lyn Hejinian, Robert Grenier, Madeleine Burnside, Steve Bensn, Milli Graffi, Robert Kelly, David Bromige, Bruce Andrews, Charles Bernstein, and Stanley Cavell.

Paris: Bernheim-Jeune, 1931. 2 volumes, folio. Numerous plates and illustrations throughout. Contemporary cloth, red leather spine labels, original wrappers bound-in. Some minor soiling to cloth, labels worn. LIMITED EDITION, number 224 of 425 copies on "papier velin" from a total edition of 500.

Paris: Chaubert and Herissant, 1759. Spine label chipped, other wear and peeling to leather, internally clean. 12mo (163 x 103 mm). xx, 237, [3] pages. Contemporary French mottled sheep, spine gilt with flowers. First edition. The philologist Etienne Barbazan (1694-1770) specialized in manuscripts from the Middle Ages, and notably contributed to reviving forgotten texts. The ordene of chivalry is a 13th century text on the rules and ceremonies of chivalry, the manuscript of which Barbazan would have seen first-hand. The book contains other texts from the 13th century and a glossary.

Mexico: Fundación Cultura Televisa, 1995. First edition. Slightly cocked in wrappers, one small abrasion on a spine. Generally, clean and well-preserved. Three volumes. 11.5 x 9 inches. Text in Spanish. Profusely illustrated from color and black-and-white photographs. Printed wrappers. A copiously annotated series documenting the superb collection of photographs Bravo collected for the Fundación Cultura Televisa. Biographical details of some of the photographers are included.

Paris: Robert-J. Godet, 1943. Number 366 of 500 numbered copies on Lafuma from an edition of 531. Some light soiling to wrappers, offsetting at end from bookmark. 4to (282 x 222mm). Six plates by Pablo Picasso. With the Paul Eluard inserted leaf. Printed wrappers. With the very rare wrap-around band with printed text: "Une jour la Chèvre-Feuille me déclara: ‘Vous écrivez en vers libres parce que c'est plus facile.'" With printed slip pasted on colophon: "Les exemplaires numérotés de 226 à 525 ont été souscrits par Guy Le Prat, Éditeur.

New York: The Elkon Gallery, 1990. Softcover. A fine copy. 11 x 8.5 inches. Wrappers. Catalog published on the occasion of the exhibition from October - December 1990.

New York: Simon & Schuster, 1957. A near fine copy, the price-clipped jacket lightly worn along joints, but fresh and bright. 8vo. 48 pp. Black-and-white photographic illustrations. Original cloth; dust jacket. FIRST EDITION, first printing.

New York: Simon & Schuster, 1957. 8vo. 48 pp. Black-and-white photographic illustrations. Original cloth; dust jacket. A fine copy, the ends of jacket spine panel just slightly touched. FIRST EDITION, first printing.

Edition Cantz, 1993. A near-fine copy with a few small scuffs to boards. 8vo. 84 pages. Boards. FIRST EDITION.

Paris: J. Tallandier, 1903. Bindings somewhat worn at extremities and with some stains, paper a but browned. Three volumes, 8vo. Profusely illustrated. 19th-century morocco-backed pebbled cloth. An early and influential study of the development, practice and techniques of photography.

Trézélan: Filigranes Éditions, 2002. First edition, signed by the photographer. A fine copy. 10.75 x 9 inches. Accordion form, color printed and folding into wrappers. Wraparound band and plexiglass slipcase. A beautifully produced artist's book.

Paris: Contrejour, 1992. A fine copy in a near-fine jacket with a one-inch closed tear to the front and minor edgewear. 9.75 x 12.5 inches. 239 pages. Text in French. Original boards in pictorial dust jacket. A collection of black and white photographs of scenes of Paris taken by various artists spanning the decades from 1930-1960.

N.p., 1668. Front hinge partly split, but sound. 12mo (130 x 74 mm). Engraved title. [24], 360 pages. Contemporary vellum. FIRST EDITION IN FRENCH of the famous and influential treatise, Browne's 'Relgio medici,' and the only edition in French until the 20th century. "By turns credulous and skeptical, Sir Thomas Browne is one of the most unusual of the great writers of the seventeenth century... The combination of detachment from the world with fascination with its smallest objects, the style, and the mind which both style and contents reveal, has absorbed the interest of readers of all kinds ever since its first appearance" (Printing and the Mind of Man). The work first appeared in two unauthorized editions in English in 1642. The present edition was translated from Dutch of 1665: "sometimes attributed to Nicolas Le Févre. According to Willems [no. 1784] printed by Blaeu in Amsterdam. La Haye has also been suggested as a place of imprint" (Krivatsky 1852). Keynes 71.

Bellows Falls, VT: Printed by Bill Blake & Co, 1818. From the Bart Auerbach Collection. Rebacked, fore-corners worn. 8vo. Contemporary sheep. First edition. Presentation copy, inscribed identically twice by the poet to a niece on front flyleaves: "Ann [...] Jones, Presented to her by her Uncle, Thom[as] G. Fessenden - January 31, 1818" (three letters cropped by the binder). A long poem in the form of a dialogue between Narciaa and her mentor on the rules and maxims for behavior of American women. Wegelin 961. (BA).

Florence: Privately Printed by the Tipografia Giuntina, 1928. A fine copy. 8vo. Brown half morocco, pebbled cloth boards, top edges gilt, others untrimmed. First edition, number 670 of 1000 copies signed by the author. "Mr. Lawrence has moments of greatness, of course, but hours of something very different" - Virginia Woolf ('The Common Reader'). "Lawrence fully intended to shock and expected his book to be banned. The time-bomb only recently exploded when the issue of the trial ended censorship in England... Even without the eroticism it is a fascinating and well-planned novel rich in post-war observations and character portrait" (Connolly, The Modern Movement, 57). Roberts A42a.

Torino: France Aline Associates for Nexeco, 2007. A very good copy with some wear to front cover, internally fresh and clean. Folio (18 1/2 x 12 in.). [188] pages. Black-and-white photographs. Original white board folding covers. LIMITED EDITION, number 536 of 1000 copies. Scarce on the market as it was largely distributed to employees and fashion industry insiders. OCLC/Worldcat lists only the copy in the Thomas J. Watson Library at the Metropolitan Musem of Art. Includes text that reprints interviews, chronologies of collections, and comments by the designer. The photos show a variety of public and behind-the-scenes images for collections created between 2001 and 2007.

Edinburgh: The Tragara Press, 1981. 8vo. 21, [1]pp. Original green cloth; printed paper label on spine. A fine copy. COPY NUMBER 1. LIMITED EDITION, one of 120 copies on Ingres d'Arches.

Tucson, AZ: Nazraeli Press, 2003. First edition. A near-fine copy. 14.25 x 14.25 inches. Profusely illustrated in color. Original coth; pictorial dust jacket. With a foreword by Robert A. Sobieszek and additional text by David Maisel.

New York: Viking, 1985. A near-fine copy with a few tears on rear panel. 8vo. Original quarter cloth; dust jacket. First edition, third printing. Presentation copy, inscribed to a Viking editor: "For Andre, across the hall, behind the partition, Best - Garrison Keillor 9.5.85." The editor and Keillor had worked at nearby desks at Viking. Accompanying the copy is a page of Keillor's manuscript notes on the verso of Viking letterhead, in which he struggles to articulate the struggles of writing the book "dreary pages in which ... pure bright beacon of the writer's intelligence as he carries from paragraph to ... dismal pages in which only the writer's great love of ... shines it into the sky.