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New York: Yale University Press, 1948. Small 8vo in publishers clothed grey hardcover with original pictorial dustjacket. 127pp. With 44 line drawings by Le Corbusier in text. Very good clean copy. First American edition.

Berlin: The Green Box Kunstedition, 2010. 4to in wraps as issued. 84 pages. Illustrated throughout. Minimal, very light rubbing to lower spine, barely noticable, else clean fine copy. First edition.

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.

Brøndum, 1993. 44 pp. Hft. Pænt eksemplar.

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.

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

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).

Thunder's Mouth Press, New York, 1989. Paperback. XIX, 268 pages. Some handling wear to cover and edges, else clean and very good copy. Uncommon. First edition, softcover.

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.

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.

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: The Architectural Press, 1962 (1961). 8vo. Hardcover, with original jacket. 315 pages, richly illustrated. Jacket is unclipped with some chips and wear to edges. Book itself clean. Overall a very good copy. First edition, 2nd impression.

Max Niemeyer, Tübingen, 1971. Original Ganzleinen mit OU. 175 Seiten. Name auf Vorsatz, sonst sauberes und insgesamt schönes Exemplar.

Potsdam: Gustav Kiepenheuer, 1927. Small 8vo in publisher's red hardcover boards with original dustjacket, red topedge. 141 pp. Jacket worn but now protected and overall a very good copy with the extremely rare original jacket. Hier die erste Ausgabe des Theaterstücks mit der gedruckten Widmung an Erwin Piscator und Walter Mehring. - Zustand: Umschlag vorhanden, mit Läsuren und Randabrissen / First edition, 1st printing. Toller in the 1920's was Germany’s most popular playwright, a´Jewish writer who also lived the radical ideals he expressed in his plays and was imprisoned. In the spring of 1939, Nazi Germany invaded Bohemia and Moravia, the Spanish Republicans lost to Franco and, on May 22nd, in his room at the Mayflower Hotel in New York, the German Jewish writer and antifascist Ernst Toller, who was living in exile, took his life. Given to prescience, it’s possible he sensed what was coming. Toller was unique even in the highly political Weimar art scene, for living out his ideals, and their consequences, before his rise to fame as an artist. In 1919, the same year his first play debuted, he served six days as the president of the Bavarian Soviet Republic, an unrecognized socialist state in Munich. He was arrested and stood trial for high treason soon after. “He was very lucky to not be murdered by the paramilitary right wing as some of his comrades were,” said Drew Lichtenberg, a dramaturg who translated Toller’s 1927 play, Hoppla, We’re Alive! - Toller spent 1920 to 1925 imprisoned at a fortress in Niederschönenfeld. From there, he wrote expressionistic plays and poetry and became perhaps the most famous dramatist in Germany. Toller didn’t see his prison-penned work onstage until his release, but by then he’d been produced in other countries, too, emerging as the most internationally produced German playwright. Hoppla follows a group of revolutionaries jailed in the 1919 (the year of Toller’s arrest) and their lives eight years later (which was the present day at the time of the play’s premiere). Focusing on a protagonist, Karl Thomas, who was put away for years in a mental institution, the play drew from Toller’s experience with confinement and reflected his disillusionment with party doctrine after freedom. Thomas is a flawed hero, hewing to outdated ideals in the face of a modernizing Germany. - In 1927’s Hoppla, he depicted strains of antisemitism, and even has a character discussing a master race and forced euthanasia. “You feel this window cracks open where you can catch a kind of a whiff of history as it was,” said Lichtenberg.“He’s interested in the radicalization of young German people by the Nazis and he’s interested in how this cancerous ideology that goes back to the end of World War I among the right is festering and is becoming something warped and demonic.” But Toller was also skeptical of Communism. His refusal to fall into a party line led to a rift between him and the Marxist Piscator. Creative differences led each to staged different premieres of Hoppla, two days apart, with alternate endings. In a first, both endings are presented in Lichtenberg’s translation.Piscator’s Hoopla was a massive production that introduced many of the trademarks he’d go on to refine later in his career. The show made use of newsreel interludes, catching the attention of a young Bertolt Brecht, who would become Piscator’s dramaturg and major creative partner in developing a theory of Epic Theatre. With the Nazi rise to power, Toller escaped to London and then New York. He became a well-known antifascist lecturer, speaking on behalf of Spanish Republicans and raising money for their cause. In the spring of 1939, Piscator visited Toller in his Manhattan hotel. He was starting the Dramatic Workshop at the New School and wanted Toller to be on faculty. But Toller had sunk into a depression over the news of Franco’s victory and that his brother and sister were shipped to concentration camps. He hanged himself four months before the start of World War II.

Schirmer Trade Books, 2002. Original black half cloth, gilt lettered spine hardcover, with dustjacket. 209 pp. illustrated with b/w photographs. Text in English. Fine / as new copy. First edition. "In the 1950s, Art Blakey and the Jazz Messengers introduced "hard bop," a blend of bebop, blues, gospel, and Latin music that has defined jazz mainstream ever since. Although Blakey?s influence as a drummer and bandleader was enormous, his greatest contribution may have been as a mentor to younger musicians such as Wayne Shorter, Freddie Hubbard, Lee Morgan, Jackie McLean, and Wynton Marsalis. Leslie Gourse chronicles Blakey?s colorful life and career, from his hardscrabble childhood in Pittsburg to his final years as an international jazz icon."

MacGibbon and Kee, London, 1966. Publishers hardcover with very good caramel colored dustwrapper, not price-clipped and protected. 234 pages. Clean, very well preserved copy. First UK edition. " William Carlos Williams’ loving and groundbreaking book about American history - (...) a modern classic that went generally unnoticed during the years after its publication in 1925. Yet it is “a fundamental book, essential if one proposes to come to terms with American literature” (Times Literary Supplement). William Carlos Williams was not a historian, but he was fascinated by the texture of American history. Beginning with Columbus’s discovery of the Indies and moving on through Sir Walter Raleigh, Cotton Mather, Daniel Boone, George Washington, Ben Franklin, Aaron Burr, Edgar Allan Poe, and Abraham Lincoln, Williams found in the fabric of familiar episodes new shades of meaning and configurations of character. He brought a poetic imagination to the task of reconstructing a live tradition for Americans, and what results is one of the finest works of prose to have been penned by any writer of the twentieth century."

Barrie & Rockliff: The Cresset Press, 1975. Square 4to in heavy publisheres hardcover with well preserved unclipped jacket. 228 pages, richly illustrated. Fine copy. 1. edition. "Classic study on vernacular architecture and how simple housing will be necessary in the future to "ensure sustainability in both cultural and economic terms beyond the short term".

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".