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Harper's Bazaar, 1928. Magazine format in original wrappers. 208 pages. Wear to spine and all edges but solid. Ten (10) pages with cut-outs. A very rare original vintage Harper's Bazaar UK issue from 1928. Has some unfortunate cut-outs, two of four Luza illustrations missing. Price accordingly. Please note foreign will be extra- please inquire before ordering!

DOM Publishers, 2015. 8vo in wraps as issued. 584 pages. As new copy, unopened. "The ideas of architects are usually conveyed by their buildings. Vladimir Belogolovsky takes a different approach in his new work. The New York-based author gives a detailed picture of contemporary architects – through words. The publication consisting of almost six hundred pages presents interviews with thirty architects, which Belogolovsky conducted in the framework of his long-term, international activities as a curator and author. The names of the interviewees read like a “Who-is-Who” of modern architecture. The fame surrounding these avant-garde masters has eclipsed merely professional circles and reached the conscience of the wide general public. Their iconic work has attracted so much attention in recent years in the mass media that it is often referred to as “Starchitecture." Interviews with: David Adjaye, Will Alsop, Alejandro Aravena, Shigeru Ban, Elizabeth Diller, Winka Dubbeldam, Peter Eisenman, Norman Foster, Zaha Hadid, Steven Holl, Bjarke Ingels, Kengo Kuma, Daniel Libeskind, Jürgen Mayer H., Giancarlo Mazzanti, Richard Meier, Paulo Mendes da Rocha, Glenn Murcutt, Gregg Pasquarelli, Joshua Prince-Ramus, Wolf Prix, Kevin Roche, Robert Stern, Sergei Tchoban and Sergey Kuznetsov, Bernard Tschumi, Robert Venturi and Denise Scott Brown, Rafael Viñoly, Alexandro Zaera-Polo.

Paris: Vogue, 1950. 4to magazine format. 100 pages. Complete, minor wear to spine. Clean and complete. Lovely classic vintage Vogue with photographs by Rutledge and Penn among others. Cover by Randall.

Oxford University Press, 2018. Hardcover, with jacket. IX, (2), 242 pp. Fine clean copy. Allthough La Monte Young is one of the most important composers of the late twentieth century, he is also one of the most elusive. Generally recognized as the patriarch of the minimalist movement-Brian Eno once called him "the daddy of us all"-he nonetheless remains an enigma within the music world. Early in his career Young eschewed almost completely the conventional musical institutions of publishers, record labels, and venues, in order to create compositionscompletely unfettered by commercial concerns. At the same time, however, he exercised profound influence on such varied figures as Terry Riley, Cornelius Cardew, Andy Warhol, Yoko Ono, David Lang, Velvet Underground, and entire branches of electronica and drone music. For half a century he and hispartner and collaborator, Marian Zazeela, have worked in near-seclusion in their Tribeca loft, creating works that explore the furthest extremes of conceptual audacity, technical sophistication, acoustical complexity, and overt spirituality. Because Young gives interviews only rarely, and almost never grants access to his extensive archives, his importance as a composer has heretofore not been matched by a commensurate amount of scholarly scrutiny. Draw A Straight Line and Follow It: TheMusic and Mysticism of La Monte Young stands as the first monograph to examine Young's life and work in detail. The book is a culmination of a decade of research, during which the author gained rare access to the composer and his archives. Though loosely structured upon the chronology of the composer'scareer, the book takes a multi-disciplinary approach that combines biography, musicology, ethnomusicology, and music analysis, and illuminates such seemingly disparate aspects of Young's work as integral serialism and indeterminacy, Mormon esoterica and Vedic mysticism, and psychedelia and psychoacoustics.

Kehrer Verlag, Heidelberg, 2001. 8vo hardcover, no jacket as issued. 128 pages, illustrated. Text in both English and German. Fine clean copy. CD unplayed. 1. ed.

New York: Alfred A, Knopf, 1978 (1976). XIX, 1090 pp. Illustrated with woodcuts. Clean and very good copy. Complete edition, first paperback edition.

Sweden: OEI Editör, 2018. Tall large and heavy lex 8vo in wraps as issued. 640 pages, richly illustrated. Text in English. Light shelfwear to cover, else clean and fine, unread copy. First edition, 1st printing. - Special issue of OEI magazine taking its starting point in Ernesto de Sousa’s explosive activities as filmmaker, photographer, curator, critic, writer, folk art researcher, multimedia artist etc. in the Portuguese 1960s onwards. Ernesto de Sousa (Lisbon, 1921–1988) was one of the most complex and active figures of his time, a prolific multidisciplinary artist and an avid producer of synergies between generations of artists from both the first and the second half of the 20th century. Defending an experimental and free artistic expression, he dedicated himself to the study, promotion and practice of the arts, as well as to curatorship, critique and essay writing, photography, cinema and theater. During the 1960s he got in touch with the Fluxus movement and with the European neo-avant-garde, becoming friends with Robert Filliou and Wolf Vostell. This contact was significant to his recast of art as an experimental and participatory "open work", of which are examples the theatrical exercise Nós Não Estamos Algures (1969), the expanded film Almada, Um Nome de Guerra (1969-1972) and the mixed media Luíz Vaz 73, all collaborative pieces authored by him. During this decade and up until the 1980s, he organized courses, conferences and exhibitions on experimental film, video art, performance and happening, while promoting connections between the international neo-avant-garde and the Portuguese context. Ernesto de Sousa anticipated the Carnation Revolution (April 25th, 1974) and countered Portugal's peripheral position in Europe when he proposed to celebrate Robert Filliou's Anniversary of Art (Círculo de Artes Plásticas de Coimbra, 1974). The exhibition "Alternativa Zero" (Galeria Nacional de Arte Moderna, Lisbon, 1977) synthesized his project of creating a Portuguese avant-garde in aesthetic and ideologic dialogue with its international counterparts. Being active in almost every­thing that belongs to the domain of the arts in the broadest sense of the word, Ernesto de Sousa (1921-1988) adopted the term “aesthetic operator” to be used instead of the word “artist” – “for the simple reason that ‘artist’ designates a kind of sociolo­gical position and not a philosophical attitude towards the world” (José Miranda Justo). As a “source of enthusiasm, dynamism and motivation” (Isabel Alves), Ernesto de Sousa created new connections between all sorts of disciplines, forms, materials and social contexts. In its 640 page long textual and visual montage, including a series of new essays and translations of key essays, as well as a lot of archival material, OEI #80-81 also looks at the practices of a number of De Sousa’s fellow “aesthetic operators” (Alberto Carneiro, Túlia Saldanha, Álvaro Lapa, Fernando Calhau, Lourdes Castro, Ana Vieira, Ana Hatherly, E.M. de Melo e Castro, António Barros…). At the same time, OEI #80-81 encompasses texts on magazines such as Poesia Experimental, Operação, Nova, A Urtiga, and Alternativa; and works by artists from younger generations such as Isabel Carvalho, Paulo Mendes and Mariana Silva.

Hatje Cantz, 2010. 4to hardcover, no jacket as issued. 112 pages, richly illustrated. Text (s) in both German and Emglish by Nikola Dietrich, Rebekka Ladewig, Andrea Kroksnes. Fine copy. 1st edition. Inscribed by the artist to free front endpaper to Danish gallery owner Peter Amby. "The artistic method of Danish artist Kirstine Roepstorff is based primarily on the principle of collage. Her works—which range from small, intimate works on paper to large-scale, theatrical installations—draw on a wide spectrum of source material and systems of reference. Roepstorff uses media such asArtists books, ART felt, fabric, sequins, and glass beads, and her motifs stem from historical and contemporary image material from the areas of politics and advertising. She describes her technique as a process of “appropriarranging”: “I use the method of collage to appropriate and rearrange the world.” Besides a series of collages, the publication contains a kind of personal Wunderkammer created by the artist to showcase an eclectic variety of artifacts, objets d’art, and curiosities selected from various collections."

New York. ARTCOVER, 1980. 8vo in oblonged wraps as issued (21x25 cm). 58, (4) pp. Illustrated. Some edgewear. First printing. - This issue with back cover by Barbara Kruger, ads for Fashion Moda gallery, Cindy Sherman, Duane Michals, The Kitchen (w photo of Cookie Mueller, as well as drawings by Richard Serra and a double spread made especially for this issue of Cover by Robert Morris and much more.

New York - Munich - London: Prestel Publishers, 2001. Quarto large and heavy hardcover with original pictorial dustjacket. 365 pp. Profusely illustrated in black-and-white and colour. Light wear to jacket with some sun fading to spine else a clean and overall very good copy. First edition.

Seventeen Magazine, 1953. Large magazine format in original wrappers. 120 pages. Complete magazine. Only minimal edgewear. Excellent copy. A rare original vintage Seventeen Magazine issue in super condition, very rare thus. This issue is an utter joy to behold.. A perfect example of Art Kane's graphic design greatness. Including Lustre-Creme ad featuring Marilyn Monroe.

Berkeley: University of California Press, 2009. 4to in publishers hardcover with jacket. 355 pages, richly illustrated. Text in Englis. Fine clean copy. First edition. -"Jacob Lawrence was one of the best-known African American artists of the twentieth century, but his work has never been the focus of an in-depth study. In Painting Harlem Modern, Patricia Hills renders a vivid assessment of Lawrence's long and productive career. She argues that his complex, cubist-based paintings developed out of a vital connection with a modern Harlem that was filled with artists, writers, musicians, and social activists. She also uniquely positions Lawrence alongside such important African American writers as Langston Hughes, Richard Wright, and Ralph Ellison. Drawing from a wide range of archival materials and artists' interviews, Hills interprets Lawrence's art as distilled from a life of struggle and perseverance. She brings insightful analysis to his work, beginning with the 1930s street scenes that provided Harlem with its pictorial image. She follows each decade chronologically, including his impressions of Southern Jim Crow segregation and a groundbreaking discussion of Lawrence's symbolic use of masks and masking during the 1950s Cold War era. An absorbing book that is likely to become the definitive work on this seminal figure in American art, Painting Harlem Modern highlights Lawrence's heroic efforts to meet his many challenges while remaining true to his humanist values and artistic vision".

Limoges: FRAC Limousin, 1999. 8vo in bright green stiff wraps as issued. 125 pages, illustrated. Text in both French and English. Clean and tight copy, fine. First edition.

New York: Viking Penguin, 2001. Publishers hardcover, with dustjacket. (2), 424 pp. Stamp from literary agency to free front endpaper. Spine sunned else very good clean copy with a protected dustjacket. First edition.

New York: Simon & Schuster, 2004. Original boards with photoillustrated dustjacket (hardcover). 293 pp. Near fine / fine copy. First edition, 1st trade printing, with full number line.

København: SMK Forlag, 2016. Stor hardcover. 296 sider. Rigt farveillustreret. Pænt, rent eksemplar.

Suhrkamp Taschenbücher, 1983. 1350 Seiten. Ohne Schuber. Bücher sind gut erhalten. 1200 = N.F., Band 200, Erste Auflage / First edition, 1st printing (stated). First publication was as part of Gesammelte Werke, Volume V the year before, this being the first seperate edition. Very well preserved, clean and complete set of Das Passagenwerk, The Arcades Project.

Denmark: Aarhus Kunstforening (Aarhus Art Society), 1969. (144) pp. Richly illustrated throughout with short notes, partly in English. Only wear to cover (see photo) else a clean and very good copy. COMPLETE WITH INSERT. The very rare original 1. printing. Important AARHUSRAPPORT - rare documentations from the fluxus art scene in Denmark, documenting a number of happenings, exhibitions and concerts taking place in and around Aarhus during the years 1961-1969: "In June 1969, Danish composer and Fluxus artist Eric Andersen presented an interactive artwork called By som værk (City as work) that connected different places in Aarhus in a complex composition through posters mounted on billboard triangles on the city’s squares and in bus stops, communication over walkie talkies and analogue cameras to document which places had been visited. The posters on billboard triangles simultaneously gave the audience instructions for their tour through the city and served as a log of which instructions had been carried out. This conceptual framework for a mapping of Aarhus resulted in an on-going and choreographed, but not planned or scheduled, performance as well as a series of photographs and inscriptions on the posters made by people following the instructions of the work as it guided them through the city. The composition was a way to connect people in different places, sharing information over the walkie-talkie with others on the same channel, but also a way to connect places with places, transferring a mark from one location to another. Eric Andersen writes about the piece, ‘A city is an instrument that doesn’t always have to play the same phrases. City as Work involved the entire city as an interactive artwork, through which visitors and local population could enjoy quite different urban routes and activities than the common and worn out ones. Printed on the inside covers of the original Århus Rapport are a number of photographs from Andersen’s project, contrasted by a black/white topographic map of the city of Aarhus on its outside. In other words, the map and images of specific sites of Aarhus are what holds together the different artistic practices documented inside the Rapport. It is an example of the avantgarde ‘politics of the ultra-local,’" (Lars Bang Larsen).

Copenhagen, 1961. Original illustrated wraps. Unpaginated. Illustrated. Text in Danish. Very good clean copy. Furniture and design by Mogens Koch, Hans J. Wegner, Ole Wanscher et al. First edition.

Copenhagen: Chr. Erichsens Forlag, 1968. Small oblong 8vo. Original black photoillustrated hardcover boards. 74 photographs by Ulrik Ross in gravure. Text (in Danish) by Michael Rütz. Very good clean copy. Very scarce, eccentric photo illustrated work on public toilets and sexual graffiti. 'Retirade Kunst' was included in '802 photobooks of the M. Auer Collection' (Auer, page 485). First (and only) edition - attractive copy.

Sternthal Books January 2011, Tel Aviv. 8vo in original hardcover, no jacket as issued. 103 pages, plus plates at end 140 pages in all. Fine clean copy. 1. ed. Publised on the occasion of the exhibition First We Feel Then We Fall 12 May - 8 July, 2011 Alon Segev Gallery in Tel Aviv. “First We Feel Then We Fall” mixes photography, drawing, and painting in the elaboration of a unique visual language. The book opens with a trove of found images that have informed and inspired Yanai’s practice. The ‘Sources’ are followed by drawings, curatorial essays by Nuit Banai and James Trainor, and twenty two plates, including twelve oil paintings on linen, and ten oil paintings on custom birch panels.

Copenhagen: Arkitektens Forlag, 1965. 4°. Original heftet, beskyttet i syrefri plasticomslag. 127 sider. Godt eksemplar. The classic finely printed, richly illustrated monograph on the Danish graphic design pioneer Knud Valdemar Engelhardt (1882–1931) "Denmark's first industrial designer. Influenced by the architect Thorvald Bindesbøll, Engelhardt understood that successful production depended on both an industrial and a graphical approach. The font he developed for Gentofte's road signs is sensitive and personal but also eminently readable. From 1908 to 1910, he designed electric trams for Copenhagen with intricate detail. The vehicles were functional and cleanable in all weathers, and were well manufactured. Although Engelhardt was an architect, he also exerted a considerable influence on the development of Danish billboards and graphic design traditions. More than anyone else, Engelhardt paved the way for a Danish approach to design and industrial production" (wiki).

London, Imago Publishing Co, 1955 (1948). Original blue cloth. 4 Blätter, 605 Seiten, 5 Blätter. Einige wenige Bleistiftsnotizen, sonst gutes Exemplar. Inhalt: Notiz über den 'Wunderblock'. Die Verneinung. Einige psychische Folgen des anatomischen Geschlechtsunterschieds 'Selbstdarstellung'. Die Widerstände gegen die Psychoanalyse. Hemmung, Symptom und Angst. Die Frage der Laienanalyse. Psycho-Analysis. Fetischismus. Nachtrag zur Arbeit über den Moses des Michelangelo. Die Zukunft einer Illusion. Der Humor. Ein religiöses Erlebnis. Dostojewski und die Vatertötung. Das Unbehagen in der Kultur. Über libidinöse Typen. Über die weibliche Sexualität. Das Fakultätsgutachten im Prozes Halsmann. Goethe-Preis 1930 - Brief an Dr. Alfons Paquet. Ansprache im Frankfurter Goethe-Haus. An Romain Rolland. Ernest Jones zum 50. Geburtstag. Brief an den Herausgeber der 'Jüdischen Presszentrale Zürich'. To the Opening of the Hebrew University. Brief an Maxim Leroy über einen Traum des Cartesius. Brief an den Bürgermeister der Stadt Pribor. Josef Breuer+ Karl Abraham+ Geleitwort zu 'Verwahrloste Jugend' von August Aichhorn. Bemerkung zu E. Pickworth Farrow's 'Eine Kindheitserinnerung aus dem 6. Lebensjahr'. Vorrede zur hebräischen Ausgabe von 'Totem und Tabu'. Geleitwort zu 'Medical Review of Reviews', Vol.XXXVI, 1930. Vorwort zu 'Zehn Jahre Berliner Psychoanalytisches Institut'. Geleitwort zu 'Elementi di Psicoanalisi' von Edoardo Weiss.

Helsinki: Suomalaisen Kirjallisuuden Seura, 2015. Oblong large and very heavy8vo in hardcover. 192 pages, richly illustrated. Text in English. Fine clean copy. 1. ed. n his book Sivonen explores the relationship between a human and nature through Ahtila's video works from mid-1990s to this day. A central theme in Ahtila?s work is the relationship between humanity, animals and the natural world.

London: Thames & Hudson, 2021 (2006). Large oversized 4to in softcover wraps. 224 pages, richly illustrated throughout. Only minimum wear to corners of cover, else fine. First edition. - "The definitive overview of the artwork of the seminal Manchester-based Factory label, covering its iconic record sleeves, posters, ephemera, venues and packaging. After a foreword by the late founder of Factory, Tony Wilson, an introductory essay discusses the label's role in bringing design to the mainstream. Thereafter the book is organized as a generously illustrated catalogue, arranged by the famous Factory reference system. "Factory Records", as part of the story, has been given its own reference number - Fac 461 - making it a collectable item in its own right...".