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Publisher: Serpent's Tail, London, 2000. Squarish in softcover, as issued. XXXII, 231 pp. Illustrated. Very good clean copy. "n 1998, the Spice Girls were barred from the No. 1 spot by Run DMC. Rap is back. Rap is a form of music and spoken rhyme which first came to prominence in 1979 through The Sugarhill Gang's chart hit Rapper's Delight. Rap, along with all the other features of hip hop culture, originated in New York's Harlem and the South Bronx. This book takes hip hop culture as its central focus for an investigation of African-American rapping in all its forms. It begins with the music's African roots and ends with the global acceptance of rap as both commercial pop genre and voice of rage, a journey which encompasses West African griots, doo wop groups, jazz singers like Slim Gaillard, soul rappers from Millie Jackson to James Brown, old-school rappers Grandmaster Flash and Afrika Bambaataa, new-school rebels like Roxanne Shante and Run DMC, all the way to Public Enemy, De La Soul, NWA, the pop rap of MC Hammer and Vanilla Ice and the gangstas Tupac Shakur, Notorious BIG, Puff Daddy and Snoop Doggy Dog". 

H. Hirschsprungs Forlag, 1963. Originalt hæftet omslag med smudsomslag. 116 pp. Illustreret. Inklusiv EP-plade i lomme. Dette eksemplar ganske velholdt, samt vedlagt en håndskrevet hilsen fra Sven Møller Kristensen : "Kære Steffen Fisker! / Saa vidt jeg husker, laante De i sin tid / nogen Jazz-etuder af mig... " osv. om tilbagelevering af disse, underskrevet og poststemplet 1944.

Copenhagen: Gyldendal, 1961. 8vo. Original hardcover med smudsomslag. 131 pp. Rigt illustreret. Classic Danish publication on Scandinavian Design, a very good copy with well preserved and now protected jacket.

Oxford University Press, 2000. Publishers hardcover, w jacket. XII, 227 pages. Very good clean copy. First edition. - "Attitudes in Britain to forests and trees are changing. Plantation forests - the product of the 'strategic reserve of timber' vision that held sway in the early twentieth century, and was turned into a physical reality by the Forestry Commission - are no longer fashionable. Today's forests are required to be sustainable, multi-purpose, and biologically diverse. They are expected to possess a 'spirit of place', be aesthetically pleasing, and help alleviate poverty and social exclusion in cities and remote rural areas. This book traces the changing fortune of forests and trees in Britain and people's changing relations with them. It investigates traditional woodland management practices, and considers how they came to be supplanted by scientific forestry knowledge and methods. It examines the development of the Forestry Commission and its body of foresters, looks at the symbolic function of forests and trees, and assesses the claim that present day forestry has become a postmodern phenomenon. A Critical Geography of Britain's State Forests will prove useful not only to foresters and nature conservationists, but to all those who are interested in how human beings socially and biophysically construct the environment, driven by a constant urge to find their place and meaning within it."

Politisk revy / Rævens Sorte Bibliotek, 1987 (1983). 159 pp. Hft. Med illustrationer. Diskret navnetræk ellers ren. Anden danske udgave, 1. oplag på godt papir.

Seventeen Magazine, 1952. Large magazine format in original wrappers. 128 pages. Complete magazine. Only minimal edgewear. Excellent copy. A rare original vintage Seventeen Magazine issue with cover photo by Blumenfeld. Plath's text is running over three pages throughout the magazine.

Agertoft, 1987. Stort format. Hardcover. 39 sider. Illustreret i farver. Pænt rent eksemplar. 1. danske oplag.

Durham & London: Duke University Press, 2015. 8vo. Paperback. XXI, 468 pp. Very good copy, unread. Microgroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music. Corbett's approach to writing is as polymorphous as the music, ranging from oral history and journalistic portraiture to deeply engaged cultural critique. Corbett advocates for the relevance of "little" music, which despite its smaller audience, is of enormous cultural significance. He writes on musicians as varied as Sun Ra, P.J. Harvey, Koko Taylor, Steve Lacy, and Helmut Lachenmann; and among other topics, he discusses recording formats, investigates the relationship between music and visual art, dance, and poetry, and with Terri Kapsalis, analyzes the role of female orgasm sounds in contemporary popular music. Above all, Corbett privileges the importance of improvisation; he insists on the need to pay close attention to “other” music, and celebrates its ability to open up pathways to new ideas, fresh modes of expression, and unforeseen ways of knowing.

New York: Condé Nast, 1983. Original wraps. 266 pp. Illustrated throughout, in b/w and color. Some edgewear, overall very good tight and complete copy. On cover, model Lauren Helm wearing Azzedine Alaia turtleneck sweater. Photos by Richard Avedon and Irving Penn. On Camera and Off-a sampling of photographer Arthur Elgort's "stolen moments", Go for the Best!-the Looks to Watch for '83: Perry Ellis, Saint Laurent Rive Gauche, Geoffrey Beene, Calvin Klei, Gianfranco Ferre, Mario Valentino, Emanuel Ungaro, Sonia Rykiel, Gianni Versace, Karl Lagerfeld, Giorgio Armani, Jean Muir, Bill Blass, Fun and Games or Agents of Change: Karl Lagerfeld's Rome and Monte Carlo Apartments designed by Andree Putman, Bruce Chatwin: Explorations of the Heart: an excerpt from "On the Black Hill", Two American Sculptors: Louise Bourgeois and Nancy Graves. By Barbara Rose. Photographs by Arthur Elgort, Richard Avedon, Hiro, Irving Penn, Denis Piel and others.

Dia Art Foundation, New York, 2004. Small 8vo in wraps as issued. 222 pp., illus., bib. notes. Light edgewear else fine clean copy. The third in the series of the Robert Lehman Lectures on Contemporary Art. "Leonardo da Vinci, Marcel Duchamp, and Joseph Beuys," by Pamela Kort; "Robert Irwin and the Condition of Twilight," by Jonathan Crary; "Andy Warhol: Shadows," exhibition text by Lynne Cooke to preface Victor I. Stoichita; "Beyond the Peter Pan Complex: Warhol's Shadows," by Victor I. Stoichita; "Douglas Gordon's 'Left is Right and Right is Wrong and Left is Wrong and Right is Right,'" by Elaine Showalter; Stan Douglas's "Win, Place, or Show," by Bérénice Reynaud; "The Case of Thomas Schütte," by Boris Groys; "Rodney Graham's Black Box Treatment," by Jan Tumlir; "Myth of the West," by Peter Wollen.

Penguin, 1966. 8vo paperback as issued. 157 pp. Illustrated by Lennon and very finely printed in several colors. Well preserved copy. First combined edition 1966, containing John Lennon in His Own Write (1964) and A Spaniard in the Works (1965).

Palais de Tokyo and Koenig Books, 2014. Softcover as issued. 188 pages; illustrated, with text in English and French. Fine clean copy with only minimal shelfwear. First edition. "The exhibition at Palais de Tokyo in Paris is a “blank canvas” but also a retrospective on Philippe Parreno, who occupies and immaterially appropriates the space of this iconic contemporary art venue."

London: Routledge & Kegan Paul Ltd, 1965 (Bollingen Foundation, 1964). Slim 8vo in publishers hardcover, w jacket. 104 pages. Name of previous owner to front pastedown. Jacket priceclipped and slightly edgeworn and some light discoloration to endpapers. Overall a very good copy. First British printing of Nabokov's commentary to the translation of Pushkin's Eugene Onegin. Preceded by the Bollingen print 1964). Scarce.

Kunst og Kultur, 1948 til 1949. Alle hefter upaginerede og rigt illustrerede i s/h og farver. Lidt brugsspor. nr.1: Signeret træsnit af Carin Steenberg. Nr.2: "Parabel" af W. Heinse med orig. radering af Hans Chr. Høier. Nr.3: Typografi af Kai Pelt. Nr.4: bl.a. typografi af Viggo Naae.

Spector Books, 2011. Tall 4to in original boards. 145 pages, illustrated with text in both German and English. Fine copy. 1. ed. With texts by Jan Wenzel, Denise van de Beek, Stephanie Tasch. By the end of 1979, Sir Anthony Frederick Blunt was no longer Sir. The reason can be traced back to Cambridge where he was a student – and a member of a secret circle of men who were young and ardent advocates of Communism. Later they became known as the Cambridge Five. The first of them was exposed in 1951, the second one a year later. By this time, Blunt was professor of Art History and Adviser for the Queen’s Pictures and Drawings. He was in charge of managing the Royal Family‘s collection of paintings. His focus was on French and Italian art, especially Poussin. In 1963, the third member of the Cambridge Five was uncovered. Like the others, he had sought refuge in Moscow. Blunt’s secret identity became known the year after, but it was not publicly revealed to avoid damage to the Queen. It took another 15 years for Margaret Thatcher to publicise it. Book designed by Joachim Bartsch.

Foreningen for Ung Dansk Kunst, København 1967. 4°. Illustreret i s/h. Upagineret. Hft. Illustreret med fine tryk af blandt andet Poul Gernes, Per Kirkeby (en Pop-Kunst Dinosaur ), Kai Führer og andre. Omslaget er et litografi af Ole Sporring. Forord af Kasper Heiberg. Godt eksemplar. 1. oplag / Erste Auflage.

Borgen, 2009. 152 pp. Hft.

Lausanne: 1950. 1 volume grand in-8° (240x180 mm), reliure bradel sous papier crème (Mayer & Soutter). 192 pages avec 111 photographies de Maurice Blanc. Le volume présente des traces du temps mais demeure en bel état et l'intérieur est frais. First edition / Édition originale. Exemplaire numéroté (5036/10300) de l'Édition originale sur papier héliogravure satiné mat sans pâte de bois des Papeteries de Landquart.

Gyldendal, 2020. Original hardcover. 384 sider. Nærmest som ny. 1. oplag.

Basel: Kunsthalle, 1976. 4to in wraps as issued. 52 pages. Text in both English and German. Without list of works. Light wear to cover, overall a very good copy. First edition. Edition of 800 copies. Catalogue Raisonné (1989), Catalogs no. 14.

New York: Random House / Nonesuch Press, 1934. 8vo (12,5 x 19,5 cm). Publishers fine brown clothed hardcover with gilt title. XVIII, (2), 868 pages. Previous private owners name to innercover else clean and overall a very good solid copy. COMPLETE and UNABRIDGED edition in a fine handy volume. First edition thus.

Forlaget Spring, 2019. 348 pp. Hft. Et trykmærke på omslag ellers rent og pænt eksemplar. 1. oplag.

Sternberg Press, 2014. Small paperback. 345 pages. Clean, seems unread.  When workaday author John Barlow is asked to ghostwrite a novel about secretive tax havens, he assumes the job will be straightforward. Then he learns that his employers, Swedish conceptual artist duo Goldin+Senneby, want him to investigate Headless Ltd, a shadowy company with possible links to French philosopher Georges Bataille, famed for his fixation with human sacrifice. Barlow travels to Nassau, the mecca of offshore finance, to uncover the plot. He is not alone. A beautiful, mysterious woman is also seeking the truth about Headless-and about Barlow. One day the ghostwriter is happily posting to his travel blog; the next he is implicated in the decapitation of a police officer, consumed by the dark world of covert capitalism and secret societies. Barlow's probing becomes desperate. The more he grasps at the threads of the labyrinthine plot, the closer he comes to madness. Copublished with Tensta konsthall and Triple Canopy.

Barcelona: Actar / Macba, 1999. Small 4to in flexible hardcover as issued. 205 pages, richly illustrated, mainly in color. Text in both French and Catalan. Near fine clean copy with only light shelfwear to corners of cover. From the collection of John Hunov, with his neat bookmark at front innercover. Fine monograph on Hains’ work: hypnagogic photographs, abstract photos made through fluted glass in the late 1940s, under a Surrealist influence to his decollage works and more. Ribbed glass, cinema and letterist poetry, Nouveau Réalisme – the décollage (unpeeling) of torn posters: a turning point but also one “site” among many others – which he regularly revisited. Urban dérives (“drifts”) took him ever closer to Situationism and, after the ads and billboards, he next collected and displayed boarding fences from construction sites (palissades). The first time the term décollage appeared in print was in the Dictionnaire Abrégé du Surréalisme in 1938, it is usually used in the context of nouveau réalisme. The artists involved, Raymond Hains among them, often sought out sites with many layers of posters so that the process of décollage took on an archeological character and was seen as a means of uncovering historical information. They exhibited their ripped poster artworks as aesthetic objects and social documents. From 1949 Hains made work from posters that he tore from the walls of Paris. In 1963 the German artist Wolf Vostell appropriated the term, staging a series of happenings under the title Nein 9 Decollagen which involved television images which he had ‘décollé’ unstuck from the screen and re-presented.

Aachen, Ludwig Forum, 1998. Small 4to in wraps as issued. 48 pages, illustrated, mainly in colour. Text in German. 1st ed. Exhibition catalogue, Ludwig Forum für Internationale Kunst, Aachen, May 17 - July 26, 1998. With a text by Eugenio Valdés Figueroa and an introduction by Wolfgang Becker.