john left (20 Ergebnisse)

Hardcover. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Near fine copy in the original stiff-card wrappers; edges very slightly dust-dulled and toned. Remains particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Series; Left Book Club edition. Physical description; 488 pages ; 22 cm. Notes; "Bibliographical appendix": pages 459-475. Subjects; Labour Party (Great Britain) History. Communist Party of Great Britain. Socialism. Socialism Philosophy. Communism Great Britain. Marxism. Socialism History. Great Britain Politics and government. Social reform. Reform movements. Working class. Revolutionary movements. Communism. Genre; Bibliography. 1 Kg. Left Book Club Edition (Fourth Impression).

Book Club Edition. Good copy in the original title-blocked pictorial cloth. Some suggestion of dust-dulling and wear to the spine bands and panel edges. Remains well-preserved overall; tight, bright, clean and strong. Edition; Left Book Club ed. Physical description; 283 p. ; 19 cm. Subjects; Socialism Great Britain. Economic policy. International cooperation. Imperialism. Federal government. Socialism. 1 Kg.

Stapled. Zustand: Book good. Second impression. 44 pp. text + 8 new photogrphs by mr. Ian Taylor.

Zustand: New. Christopher Valdés; Photographer: Mel Frank; Photographer: Left Foot; Photographer: Toni13 (illustrator). 588.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 289-432. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 721-856. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 1-144. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 433-576. Slight sun fading down the spine and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition in publisher's original illustrated orange paper wrap covers [soft back], black lettering to the front, lovely illustrated advertisements to the rear and to the inside front and rear covers. 8vo. 9'' x 5¾''. Contains 16 pages of advertisements and pages 433-576. Slight sun fading down the spine, nibbling of the front cover to the bottom of the spine and top edge and in Good condition, no dust wrapper as issued. Member of the P.B.F.A. NINETEENTH CENTURY.

First edition hard back binding in publisher's original navy blue paper covered boards, silver title and author lettering to the spine. 8vo. 9½'' x 6¼''. Contains (xvi), 220 pp with monochrome archive photographs throughout. Fine condition book in Fine condition price clipped dust wrapper. SIGNED by the author to the title page 'For Bill Weeks, With all good wishes - Laddie Lucas 24. xi. 87', SIGNED below this authors inscription in different colour ink 'John Jacobs'. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. SPORT [Golf].

First Edition. Slim octavo (22.25cm); pictorial wrappers; [32]pp; illus. Subtle toning to two edge of front wraper, else Near Fine. Though never as popular or widely-circulated as its brethren like The East Village Other and The Berkeley Barb, nor as political as such radical-left undergrounds as The Black Panther and New Left Notes, John Wilcock's Other Scenes probably deserves pride of place as the most daring, creative, and experimental of the alternative press papers of the late Sixties. It was also probably a function of Wilcock's comparative maturity (he was already in his late thirties in 1967) far less reliant on the sort of psychedelic mish-mosh that defined the aesthetic of most other underground papers of the period. Described in the masthead as "a revolutionary newsletter concerned with art, politics, sociology, sex and the creation of a more equitable society," Other Scenes was heavily influenced by both the Fluxus and mail-art movements as well as Andy Warhol's avant-pop aesthetic (Wilcock was a regular Factory denizen). The paper operated as much as a virtual underground club for its subscribers as it did a vehicle for news distribution; according to the masthead of an early issue, Wilcock distributed the paper "twenty times a year from wherever its editor happens to be," and his mailings often included "surprises" including "newsletters, newspapers, letters, brochures and discoveries that I make in all parts of the world." Contents include contributions by David Herres, Robert Wolf, Liza Williams, Clem Gorman, John Wilcock, and others. [54886].

First Edition. Tabloid (44cm); pictorial newsprint wrappers; 24pp; illus. Modest wear to extremities, subtle toning to wrappers, with numerous tiny tears, particularly along the spine-fold and upper edge; Very Good. Though never as popular or widely-circulated as its brethren like The East Village Other and The Berkeley Barb, nor as political as such radical-left undergrounds as The Black Panther and New Left Notes, John Wilcock's Other Scenes probably deserves pride of place as the most daring, creative, and experimental of the alternative press papers of the late Sixties. It was also probably a function of Wilcock's comparative maturity (he was already in his late thirties in 1967) far less reliant on the sort of psychedelic mish-mosh that defined the aesthetic of most other underground papers of the period. Described in the masthead as "a revolutionary newsletter concerned with art, politics, sociology, sex and the creation of a more equitable society," Other Scenes was heavily influenced by both the Fluxus and mail-art movements as well as Andy Warhol's avant-pop aesthetic (Wilcock was a regular Factory denizen). The paper operated as much as a virtual underground club for its subscribers as it did a vehicle for news distribution; according to the masthead of an early issue, Wilcock distributed the paper "twenty times a year from wherever its editor happens to be," and his mailings often included "surprises" including "newsletters, newspapers, letters, brochures and discoveries that I make in all parts of the world." Contents include contributions by Robert Wolf, Lita Eliscu, John Sinclair, Alex Apostolides, Gerard Malanga, John Webster, John Wilcock, Ted Berrigan, George Schneeman, and others.

First Edition. Tabloid (42cm); photo-illustrated newsprint wrappers; [24]pp; illus. Light wear and toning to extremities, particularly along spine-fold, with a faint horizontal fold at center; Very Good+, without postal markings. Though never as popular or widely-circulated as its brethren like The East Village Other and The Berkeley Barb, nor as political as such radical-left undergrounds as The Black Panther and New Left Notes, John Wilcock's Other Scenes probably deserves pride of place as the most daring, creative, and experimental of the alternative press papers of the late Sixties. It was also probably a function of Wilcock's comparative maturity (he was already in his late thirties in 1967) far less reliant on the sort of psychedelic mish-mosh that defined the aesthetic of most other underground papers of the period. Described in the masthead as "a revolutionary newsletter concerned with art, politics, sociology, sex and the creation of a more equitable society," Other Scenes was heavily influenced by both the Fluxus and mail-art movements as well as Andy Warhol's avant-pop aesthetic (Wilcock was a regular Factory denizen). The paper operated as much as a virtual underground club for its subscribers as it did a vehicle for news distribution; according to the masthead of an early issue, Wilcock distributed the paper "twenty times a year from wherever its editor happens to be," and his mailings often included "surprises" including "newsletters, newspapers, letters, brochures and discoveries that I make in all parts of the world." Contents include contributions by Timothy Leary, Tony Auth, Neal Phillips, Tuli Kupferberg, Peter Hemphill, and others, including a small illustrated contribution by Ed Ruscha.

First Edition. Tabloid (43cm); photo-illustrated newsprint wrappers; [24]pp; illus. Light wear and toning to extremities, faint horizontal fold at center, with a faint stain to upper right margin of front wrapper, and some diagonal creases to terminal leaves; Very Good, without postal markings. Though never as popular or widely-circulated as its brethren like The East Village Other and The Berkeley Barb, nor as political as such radical-left undergrounds as The Black Panther and New Left Notes, John Wilcock's Other Scenes probably deserves pride of place as the most daring, creative, and experimental of the alternative press papers of the late Sixties. It was also probably a function of Wilcock's comparative maturity (he was already in his late thirties in 1967) far less reliant on the sort of psychedelic mish-mosh that defined the aesthetic of most other underground papers of the period. Described in the masthead as "a revolutionary newsletter concerned with art, politics, sociology, sex and the creation of a more equitable society," Other Scenes was heavily influenced by both the Fluxus and mail-art movements as well as Andy Warhol's avant-pop aesthetic (Wilcock was a regular Factory denizen). The paper operated as much as a virtual underground club for its subscribers as it did a vehicle for news distribution; according to the masthead of an early issue, Wilcock distributed the paper "twenty times a year from wherever its editor happens to be," and his mailings often included "surprises" including "newsletters, newspapers, letters, brochures and discoveries that I make in all parts of the world." Contents include an interview with Bill Graham of the Fillmore, and contributions by Marlene Charyn, C. Clayton Clark, Sheila Krynski and Bruce Hoffman, Bob Garcia, Kerry Thornley, and others.

See his entry in Grove's. Each with his firm signature 'John Goss'. The two letters in fair condition, on aged and creased paper, folded for postage, the first of the two with a short closed tear to one edge. The card in good condition, lightly aged. ONE: TLS to 'Mr. Cameron', 21 December 1938. 1p, 4to. Cameron's letter 'to the convener of the Musician's Group of the Left Book Club' has been passed to him. 'I do not think there are any members of the Group that have sufficient drawing power to make it worth your while bringing them all the way from London.' With regard to 'stars', he advises him to 'write direct to anyone you want. If you write to a number of them you are more than likely to get one or two acceptances. I am sure Mr. A.K. Holland could make you out a list of names and I can add the addresses if you don't know them.' He concludes: 'It is not difficult to get artists to perform for Spain Relief these days, but in most cases I think that such people prefer not to be approached through a third party.' TWO: TLS to 'Mr. Cameron, 9 January 1939. 1p, 4to. 'I shall be very happy indeed to come to Liverpool for your concert on February 15th. I don't flatter myself that this will make any real difference to its success.' He hopes Cameron has 'written to all the famous people you can think of. If you are too shy to do this, get Holland to do it. Musicians will do anything for a critic!' The letter ends: 'I take it you have a first-class accompanist.' THREE: TCS, addressed to 'Miss Cameron, / 28 Queens Road, / HOYLAKE, / Cheshire.' With stamp and smudged postmark. Headed in red ink: 'SPANISH AND CELEBRITY CONCERT. / Central Hall, Liverpool. Tuesday, March 7th.' A follow-up concert to the one of 15 February 1939. He will be happy to come to Liverpool for the concert, and explains, 'I was unable to let you know sooner as an earlier tentative enquiry for the same date elsewhere had to be decided.'.

See his entry in the Oxford DNB. 1p, 12mo. On recto of the first leaf of a bifolium, the verso of the second leaf of which carries the address to 'Messrs Vizetely [sic] Branston & Co / 135 Fleet St'. The firm, who traded between 1827 and 1837, were not only 'engravers and oriental printers', but publishers too: the item referred to in this letter, 'The Young Lady's Book', had two editions published in 1829 and a third in 1832, and Jackson presumably contributed work. In fair condition, discoloured and worn. Folded for postage, with broken brown wafer adhering to the reverse of the second leaf. The letter reads: 'Gentlemen / I shall feel obliged if you can send me 4 copies of the Ladies book by bearer. If you cannot let me have 4 perhaps you will [?] to send that number to the country by parcel / I am Gentlemen / Yr Obtd Servt / J Jackson'. Jackson is not to be confused with the Royal Academician of the same name (1778-1848); the DNB states that the wood engraver Ebenezer Landels (1808-1860), resided for a time with the present individual in Clarendon Street.

First Edition. Bifolium (43.25cm); photo-illustrated newsprint wrappers; [4]pp; illus. Old folds smoothed out, two tiny tears, else Near Fine, without postal markings. Though never as popular or widely-circulated as its brethren like The East Village Other and The Berkeley Barb, nor as political as such radical-left undergrounds as The Black Panther and New Left Notes, John Wilcock's Other Scenes probably deserves pride of place as the most daring, creative, and experimental of the alternative press papers of the late Sixties. It was also probably a function of Wilcock's comparative maturity (he was already in his late thirties in 1967) far less reliant on the sort of psychedelic mish-mosh that defined the aesthetic of most other underground papers of the period. Described in the masthead as "a revolutionary newsletter concerned with art, politics, sociology, sex and the creation of a more equitable society," Other Scenes was heavily influenced by both the Fluxus and mail-art movements as well as Andy Warhol's avant-pop aesthetic (Wilcock was a regular Factory denizen). The paper operated as much as a virtual underground club for its subscribers as it did a vehicle for news distribution; according to the masthead of an early issue, Wilcock distributed the paper "twenty times a year from wherever its editor happens to be," and his mailings often included "surprises" including "newsletters, newspapers, letters, brochures and discoveries that I make in all parts of the world." Contents include contributions by John Sinclair, Julius Lester, Tim Leary, Bill Beckman, Tuli Kupferberg, Brian Richard Boylar, Liza Williams, and others.

Original lithographed poster, offset printed in two colors on white stock, measuring 58.5cm x 43cm (23"x 17"). Old folds smoothed out, some pinholes and tiny punctures, with three medium-sized tears and attendant creases; unbacked; Very Good. The Revolutionary Student Brigade (RSB) was a Marxist-Leninist student organization founded in mid-June, 1974, a successor organization of the Attica Brigade. The poster reproduces, some five years after the event, John Filo's iconic photo taken in the aftermath of the May 4th, 1970 shootings at Kent State. Overprinted in red, with the organization's name at lower right corner. Not separately listed in OCLC. 83153.

Second (so-called "Secret") Edition. Small 4to (190 x 145mm). 2 Parts. [12], 323, [14]; [24], 307, [9] pp. A little minor spotting in places. Contemporary mottled calf, covers ruled in blind, manuscript paper label to the spine, marbled edges (joints and edges rubbed, some wear to the spine, endleaves browned by the turn-ins, paper spine-label darkened). "London: for Matthew Walbancke at Grays- | Inn-Gate. 1647." [i.e. London: for John Starkey c. 1672 or 1677]   "This [scarcity of the first edition] occasion'd the private Reprinting of it in the year 1672, which as soon as the Government perceived, they Prosecuted both the Publisher and the Book so violently, that many hundreds of the Books were seized and burnt; ." - John Starkey, bookseller, preface to the 1689 folio edition.   Wing B349. Entered by ESTC under John Selden. This attribution is based on a statement by the publisher John Starkey in the preface to the 1689 edition: "It was well known to, and owned by, the late Lord Chief Justice Vaughan, who was one of the Executors of the Great and learned Mr. Selden, that the Ground-work was his, upon which Mr. Bacon raised this Superstructure, which hath been and is so well esteem'd, that it is now again made publick, by John Starkey."   Although he is only named on the title to the Continuation (Part 2) and then in a way that could suggest he only wrote the preface, it is certain that the book was written not by Selden but by Nathaniel Bacon (1593-1660), presbyterian MP for Cambridge University in the Long Parliament from 1645 (briefly excluded in Pride's 'Purge' in December 1648).   Joseph A. Dane has unravelled the complictaed story of this edition in his essay, "Seized, Burnt, and Variant: Bibliographical Note on Nathaniel Bacon, 'An Historicall Discourse of the Uniformity of the Government of England' [1672]", in PBSA, Vol. 102/1 (March 2008), p. 95-102. This is the original issue of the ?1672 reprint of the 1647-51 first edition with the first printings of sheets A-D of Part 1 and sheets C-D of Part 2. Dane concludes that only those sheets were seized by the authorities and burnt, not the "many hundreds" of copies of the complete book that was suggested by Jghn Starkey in 1689. These sheets all had to be reprinted. Documents relating to the printing. Document sin the State Papers relating to the printing all date to 1677. The title is ESTC's setting (A), sheets B-C are in setting (2) and sheet D in setting (b) and the book equates to Dane's issue 1 (of 2) before the first three sheets of part 1  part 2    Bacon's Historicall Discourse is one of the key texts of 17th Century radical republicanism, a danger to the state after the Restoration, and a foundation-stone of the so-called 'Whig Interpretation of History' which sought to find historical precedents for an anti-monarchical system in vestiges of an ancient pre-Norman Anglo-Saxon constitution. Janelle Greenberg, in an excellent analysis of the book in her entry for Bacon in the Oxford Dictionary of National Biography, wrote:   "But Bacon's greatest service to anti-Stuart causes came in the form of a political tract entitled An Historical Discourse of the Uniformity of the Government of England, which was probably written using notes collected by John Selden. . Continually republished well into the eighteenth century, when it won the praise of the elder William Pitt, An Historical Discourse was secretly reprinted in 1672, in 1682 at the time of the exclusion crisis, in 1689 at the revolution, again in 1739, and by 1750 in a fifth edition. So fearful were the royalists of Bacon's message that Charles II's government attempted to suppress it by prosecuting the radical printer John Starkey, perhaps a member of the Green Ribbon Club, who dared to publish it. . Charles II and his advisers were right to be scared, for Bacon's An Historical Discourse argued with unrelenting force an anti-royalist ideology of enormous persuasive power. This was the radical ancient constitution which, according to modern scholarship, was first fully articulated during the civil wars by polemicists such as William Prynne and Bacon himself. Early a mainstay of the Long Parliament's cause, the ideology consisted of the following propositions: first, while government in general was from God, the particular form came from the people. In England the people in the remote past had made a contract with their ruler, a contract in which their obedience to him rested upon his governing according to the laws made by both king and community. The ruler who failed to act upon the bargain unkinged himself and left his subjects free to replace him with another."    Provenance: This copy links two prominent political figures and landowners in Westmorland - both on the Tory rather than Whig part of the spectrum. It was given in 1690 by Sir Christopher Musgrave to Sir Daniel Fleming, of Rydal Hall, Ambleside, and it has Fleming's signature and inscription "Ex dono Christophori Musgrave de Eden-Hall in Comitatu Cumbria militis & Baronetti; A.D. 1690." on the flyleaf; ti has his characteristic library markings: catalogue heading "Eng." ["England"] underlined on the front pastedown, flyleaf and  title, the unpaginated leaves at beginning and end of both parts numbered in ink, the words "First Part" on the title underlined and with a marginal comment "*Second part, 337", ink note "Exa." ["Examinatur"] at the end.    Sir Christopher Musgrave, 4th Bt (1631/2-1704) was MP for Carlisle (in six parliaments from 1660-90), for Westmorland 1690-95, 98-1700, 1702-04, Appleby 1695-8, Oxford University 1698-1700, Totnes 1701-02. He was knighted in 1671 and succeeded his brother in the baronetcy c. 1687.  Sir Daniel Fleming, Kt (1633-1701), though active in local administration as a JP, commissioner for militia and sheriff, family commitments kept him largely away from London and he was MP for Cockermouth only from 1685-87 ("The Loyal Parliament"). He was, "a partisan moderate with consider.