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Struer, 1978. Original wrappers. 50 pages including covers. Illustrated throughout in colour. Text in Danish. Light edgewear. Very good copy. Rare original commercial folder from Bang and Olufsen. First edition. Graphic design by Werner Neertoft.

Spector Books, 2022. Large hardcover. 114 pages. Very good clean copy.

Peter Owen, 1972. Publishers hardcover with slighty edgeworn jacket. 379 pp. Clean copy. First British Commonwealth Edition (stated).

A New Directions Paperback, 2010. IX, 548 pp. Very good copy with only minor wear. From a Broken Bottle Traces of Perfume Still Emanate: Volumes 1-3 collects the first three installments-Bedouin Hornbook, Djbot Baghostus’s Run, and Atet A.D.-of Nathaniel Mackey’s genre-defying work of fiction. A project that began over thirty years ago, From a Broken Bottle is an epistolary novel that unfolds through N.’s intricate letters to the mysterious Angel of Dust. Unexpected, profound happenings take place as N. delves into music and art and the goings-on of his transmorphic Los Angeles-based jazz ensemble, in which he is a composer and instrumentalist. This triple-set book opens in July 1978 with a dream of a haunting Archie Shepp solo, and closes in September 1982 in a parallactic studio recording session on a glass-bottomed boat borne aloft by the music. Nathaniel Mackey was born in Miami, Florida, in 1947. He is the author of several books of fiction of “exquisite rhythmic lyricism” (Bookforum), poetry, and criticism and has received many awards for his work, including the National Book Award in poetry for Splay Anthem, the Stephen Henderson Award from the African American Literature and Culture Society, the Bollingen Prize, and the Ruth Lilly Poetry Prize. Mackey is the Reynolds Price Professor of English at Duke University.

Stockholm: Konstsalongen Samlaren, 1962. - octavo, red wraps, 29 pages + black & white plates. Text in Swedish. Excellent copy. First edition. Book designed by Ernst Schwitters.

Amsterdam, The Netherlands: Mondriaan Foundation, , 2009. Catalog for Fiona Banner's contribution to the Dutch Pavilion, 53rd Venice Biennale, June 7 - November 22, 2009. Wrappers. Dos-a-dos binding. Stitch bound and glued. Curator: Saskia Bos. Includes a coversation between the artist and curator and essays by Bruce Grenville, Dominic van den Boogerd, Doris von Drathen and Thomas Elsaesser. Minor edgewear to cover, clean inside. For the Dutch pavilion at the 53rd Venice Biennale, Fiona Tan has developed the project Disorient, which consists of three different works: Disorient, Rise and Fall, Provenance. Her audio-visual installation refers to Venice's pivotal position in the history of geostrategy in the time before the discovery of new routes to Asia diluted the city's power. Her project attempts to bridge the centuries by creating connections with both contemporary day-to-day reality and with the symbolic past that every visitor to Venice wants to grasp. The elaborately designed book (Design: Gabriele Franziska Götz) also presents other recent works by Tan. Fiona Tan's (*1966 in Indonesia) installations and films are the result of her ongoing investigation into representation and the role of images and portraits in contemporary culture. Her works were shown at many international venues: Amsterdam's Rijksmuseum; Istanbul Biennial; ICP Triennial, New York; Documenta 11, Kassel; the 49th Venice Biennale. Tan was shortlisted for the first Artes Mundi Prize in 2003 and the Deutsche Börse Photography Prize 2007.

Milano : Charta for Galleria civica di arte contemporanea & Fondazione Antonio Ratti, 2007. 8vo in stiff wraps as issued. 134 pages. Illustrated in color. Text in both Italian and English. Fine clean copy.  Issued on the occasion of the exhibition "Joan Jonas : my theater" held at the Galleria civica di arte contemporanea, Trento, Nov. 25, 2007-Mar. 2, 2008; includes an overview of Jonas's works from the 1960s, and documentation of her performance in 2007 at the Fondazione Ratti, in Como. First edition.

Cambridge, Massachusetts: The MIT Press, 2001 (1999). Paperback issue. IX, 455 pp. Sparsely illustrated in bw. Fine clean unread copy. An exploration of the use of sound in activities such as literature, music, theatre, visual arts, and film; Focuses on activity in Europe for the first half of the 20th century, then post-war America; Artists include William Burroughs, Yoko Ono, George Brecht, Fluxus, Allan Kaprow, and others

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.

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". 

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.

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.

Forlaget Povl Branner, 1947. 144 pp. Ubeskåret i det originale omslag. Meget velbevaret med kun små brugsspor. Dansk første udgave.

London & New York: Thames & Hudson, 2001, Hardcover w jacket protected. 304 pages. Illustrated, 280 b/w illustrations. Fine copy. First edition, very attractive copy. "By the end of the 1960s a revolution had taken place in the perception and practice of art in Europe and North America. The cultural, social, and political context of this change reflected the desire for social transformation expressed in clashes with authority, such as the protests against the Vietnam War, that signaled a counterculture's defiance of established values. This book, the first detailed account of developments centered around the conceptual art movement, highlights the main issues underlying visually disparate works dating from the second half of the 1960s through the end of the 1970s. These works questioned the accepted categories of painting and sculpture by embracing a wealth of alternative media and procedures. Traditional two- and three-dimensional representations were supplanted by a variety of linguistic and photographic means, including installations that brought into play the importance of presentation and site. Through close examination of individual works and artists, Anne Rorimer demonstrates the pervading desire to redefine the characteristics of what was once accepted as truly visual in order to dispel earlier assumptions and offer other criteria for seeing. She surveys the most prominent names and movements in the art of the late 1960s and 1970s to form a coherent picture of an era of pioneering art that prefigured many of the themes and concerns of today. Artists whose works are discussed in depth include Robert Ryman, Gerhard Richter, Joseph Kosuth, Lawrence Weiner, Eleanor Antin, John Baldessari, Gilbert and George, Sol LeWitt, Adrian Piper, Bruce Nauman, Vito Acconci, Marcel Broodthaers, Robert Smithson, Daniel Buren, and Michael Asher. Forerunners of the period such as Jasper Johns and Robert Rauschenberg, Andy Warhol, Frank Stella, Piero Manzoni, Joseph Beuys, Allan Kaprow, and Fluxus are also included. "

Bruxelles Fonds Mercator and London National Portrait Gallery, 2013. 4to hardcover with jacket. 224 pages with 200 photographic plates. Text in French. Light edgewear, else clean very good copy. NB: The photo show the book still in plastic, but the copy is now opened and without the plastic wrapping. Large very heavy book, extra shipping may apply: please inquire before ordering this item!

Louisiana Museum of Modern Art, 2004. 4to. Original boards. 144 pp. Richly illustrated in colour. Text in English. Fine copy. First edition.

Gyldendals Bogklub, 2002. 223 pp. Hft. Pænt ubrugt eksemplar.

Engletryk en collaboration avec Jørgen Fiskers Forlag, Copenhague 1992. Square 8° in wraps. Illustrated in colours. 63 pages. Text in Danish. Fine copy. 1. ed.

Prague: Panorama, 1986. 4° hardcover with jacket. App. 170 pages profusedly illustrated with more than 150 b/w photo-reproductions. Text in Czech with summaries in English, French, German and Italian. The classic Sudek monograph with fine reproductions of his most famous works. Some edgewear and surface marks to jacket, small discoloring to edge of last pages else overall a good to very good solid copy.

Abrams Books 2017. Oversized large and heavy hardcover w jacket. 144 pages. Profusedly color illustrated. Very good copy. This copy inscribed by the artist. Due to size and weight extra shipping will apply for this item - please inquire before ordering!

Kehrer Verlag, Heidelberg 2006. 8vo. Hardcover. 384 pages. Illustrated in b/w and colour. Very good copy. Parallel text in English, German, Danish/Norwegian & Finish. The Catalogue has been published in connection with the Exhibition 'Fiona Tan - Mirror Maker', Kusthallen Brandts 25.02-21.05 2006, Landesgallerie Linz 01.06-13.08 2006, Bergen Kunstmuseum 01.09-03.12 2006, Porin Taidemuseo 26.01-20.05 2007. 1. ed. Heavy book and extra shipping may apply: please inquire before ordering.

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.

Published by Pergamon Press Ldt., Oxford 1975. 8vo in originale magazine wraps. 60pp. Illustrated. Fine.

Copenhagen: Space Poetry, 2004 til 2010. Oblong8vo. Illustrated throughout. Fine complete set of the "Excursions" books. First edition (s).