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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: 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).

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.

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.

Copenhagen: Edition Bløndal, 2012. Large 4to. Hardcover. Illustrated throughout. Fine clean copy. Outstanding book design by Michael Jensen. Publisher's note "Tietgen Dormitory is a unique celebration af a unique project. Through numerous specially prepared drawings and photographs and two short but evocative essays, it invites the reader to take an imaginative journey around the building and through the long and fascinating history of circular structures in world architecture - from vernacular dwellings to prefabricated houses, theaters to sports stadia, churches to ideal town plans."

Wien / New-York Springer 1997. Heavy thick 4to in wraps as issued. 784 pages, richly illustrated. German-English text. Light edgewear. Overall a very good copy. Visual Poetry from Vienna. 1st edition.

Denmark: Silkeborg Museum, 1961 & 1966. 8vo. Original printed illustrated wrappers (autoportrait en l'honneur d'Asger Jorn by Dubuffet). 256 & 84 pp. A fine, clean, complete and very well preserved set. First edition. Fine set of these 2 richly illustrated catalogues of Dubuffet's engravings and lithographs in the Silkeborg collection, Denmark, illustrated in b/w. Text in Danish with Arnaud's catalogue in French at rear. Edited by Noel Arnaud and Asger Jorn, with foreword by Jorn.

Gyldendal, 2010. 521 sider. Heftet. Pænt eksemplar. 'Lene Adler Petersen, f.1944, udspringer kunstnerisk af 1960'ernes avantgarde og blev kendt i offentligheden i 1969, som kvinden der gik nøgen gennem Børsen. Sammen med partneren Bjørn Nørgaard udfordrede hun gennem aktioner og film de kunstneriske, politiske og sociale autoriteter og institutioner. Ved rødstrømpebevægelsens frembrud i 1970 fik hendes eksperimentelle og politiske tilgang til kunsten en mere specifik feministisk retning. 'Kvindetegnet' er en samlet præsentation af et hovedværk i kunstneren Lene Adler Petersens produktion og overhovedet i den konceptuelle kunst fra 1970´erne: ´Udklip på papir med kvindetegnet´ fra 1974. Værket legemliggør helt centrale aspekter af Lene Adler Petersens æstetik, der balancerer mellem det ekspressive og det refleksive. Det består af ikke mindre end 484 collager i et format lidt større end A5, hver med et udklip og et kvindetegn, hvis tegning ekspressivt, poetisk og humoristisk føjer sig som en kommentar til udklippet. Som et åbent serielt værk kan Kvindetegnet betragtes som et egenartet udtryk for 1970´ernes konceptuelle kunst og centrale filosofiske overvejelser over tegnet i abstrakt forstand, og afspejler samtidig et direkte men langt fra endimensionelt engagement i tidens feministiske bevægelse. Denne dobbelte forankring gør værket til et komplekst og flertydigt udsagn, der poetisk peger ud over sin historiske kontekst. Værket er ledsaget af en introducerende artikel af museumsinspektør og projektforsker ved Statens Museum for Kunst, Birgitte Anderberg' (forlagets beskrivelse). Danish artist Lene Adler Petersen maybe most famous for her part in "The Female Christ" (1969) with husband Bjorn Noergaard where she walked naked with a cross through the Copenhagen Stock Exchange in order to remind society of Christ's visit to the temple (dealings were suspended for the rest of the day) and "Horse Sacrifice" (1970). 'Kvindetegnet' (?) is a main conceptual art work by Lene Adler Petersen originally from 1974 ('Udklip på papir med kvindetegnet'). The present book collects for the first time the complete illustrations.  

Croom Helm, London, 1986. Large 8vo in publishers hardcover with slightly worn but unclipped dustjacket. XXII, 358 pp. Light soiling to edges else clean inside and overall a very good copy from a private collection. First edition. Uncommon.

Modern Art Oxford, 2005. Small tall 8vo in clothed hardcover, no jacket as issued. A hint of tanning to cover. 96 pages, chiefly illustrations in black and white. Initials to free front endpaper ("J. E.") else clean. 1. edition. "For her installation Countenance the artist filmed over 200 portraits of Berlin inhabitants at work or at home. The portraits, arranged according to the professions of their subjects, are portrayed in virtually static poses so that the film gains the aesthetics of a series of photographs, whereby someone's sudden slight movement can bring the image to life. This black and white film is a conscious reference to August Sander's portfolio work 'People of the 20th Century'. However, Fiona Tan transforms this encyclopaedically arranged investigation into a sociological study of people in a city specifically characterised by the growing together of east and west. By dispensing with plot and contextual description she emphasises the physical presence of those portrayed and allows the film image to breathe...". - Almost a photobook and in any case a fine supplement to Sander and Hans-Peter Feldmann's portraits in his 100 Jahre portraits. Tans stills are not considered a comprehensive sociological one at all, more a critical examination of the objective and universal claim Sanders work with. In a cross-section of Berlin society In 2001 and 2002 the artist examined how people felt in front of the camera. The protraited moved and posed and thereby helped created an image of themselves.

Copenhagen: Arnold Busck, 2016. 4to in original very heavy hardcover. 199 pages, richly illustrated. Binding with a minor dent else very good clean copy. First edition.

London: Fourth Estate, 1999 (US 1998). Thick very heavy hardcover with dustjacket. XX, 745 pp. Only most minimal wear, a fine clean copy that has been taken well care of. First edition. ""Shakespeare: The Invention of the Human" is the culmination of Harold Bloom's life's work in reading, writing about, and teaching Shakespeare. It is his passionate and convincing analysis of the way in which Shakespeare not merely represented human nature as we know it today, but actually created it: before Shakespeare, there was characterization; after Shakespeare, there was character, men and women with highly individual personalities -- Hamlet, Falstaff, Iago, Cleopatra, Macbeth, Rosalind, and Lear, among them. In making his argument, Bloom leads us through a brilliant and comprehensive reading of every one of Shakespeare's plays. According to a "New York Times" report on Shakespeare last year, "more people are watching him, reading him, and studying him than ever before." "Shakespeare: The Invention of the Human" is a landmark contribution, a book that will be celebrated and read for many years to come. It explains why Shakespeare has remained our most popular playwright for more than four hundred years, and in helping us to understand ourselves through literature, it restores the role of critic to one of central importance to our culture."

Milano: Lybra Immagine, 2004. Squarish 4to in wraps as issued. 256 pages, richly illustrated. Text in Italian. Very good clean copy. 1st ed. "The book chronologically traces the development of the culture of European living styles, from the Middle Ages to the declination of the most recent formal codes, through an iconographic apparatus of scale models that focuses on the permanent values ??of living rooted in the architectural culture of the Old Continent, with particular attention to the developments of the 20th century".

Cologne: Verlag der Buchhandlung Walther König, 2006. 8vo in wraps as issued. 272 pages. With 63 plates. Very good well preserved clean copy. With text by Alexander Alberro, Edit Andras, Ricardo Basbaum, Benjamin H.D. Buchloh, Sabeth Buchman, Thomas Crow, Helmut Draxler, Elizabeth Ferrell, Isabelle Graw, Helen Molesworth, Luiza Nader, Henrik Olesen and Gregor Stemmrich.

Scheidegger & Spiess, 2015. Heavy 4to hardcover. 236 pages, 82 color and 3 b/w illustrations. Text in German. Cover with wear to lower spine else very good copy. 1st edition.

Kleinheinrich, 2014. Gebunden, mit OU. illustriert von Judith M. Kleintjes, aus dem Dänischen übersetzt von Hanns Grössel. 80 Seiten plus Illustrationen in Farbe. Text auf Dänisch und Deutsch. Gut erhalten. Dobbeltsproget smuk udgave af Brev i April.

Published by the artist, 2010. Resin paddle, with ball and string in original box accompanied by a certificate of authenticity from the artist.. 12 x 7 inches (30.5 x 17.8 cm). Box with wear else a fine set.  Edition one of only 150 copies, this being no. 55 / 150. Signed and numbered by hand in silver ink on box and complete with certificate of authenticity. 

Cape Goliard Press Ltd, London, 1967. 50 pages, paperback, a very good copy. This is the First Edition, with the pbk limited to 1500 copies; white pictorial stiff card covers; set in Caslon Old Face type & printed on Glastonbury Antique Laid paper. Minor discoloring to cover else very good clean copy. First edition thus.

Berlin: KW - Institute for Contemporary Art, 2003. 4to in stiff wraps as issued. 303 pages with numerous color illustrations. Text in English. Five pages with a couple of pencil notes, cover with minor signs of use, edges of cover very slightly rubbed. First edition, much sought-after catalogue, containing: Territories - Anselm Franke. Empire everywhere - Rudolf Maresch. Extra-territorial spaces and camps in the "war on terrorism" - An Architektur. Temporary occupation - Sean Snyder. Shanghai links, Hua Xia trip. Zones of indistinction: security, terror and bare life - Bulent Diken and Carsten Bagge Laustsen. Border-syndrome - Stefano Boeri. The politics of verticality - Eyal Weizman. The battle for the hilltops - Rafi Segal and Eyal Weizman. Conflicts and negotiations as spatial practices: a conversation with Ron Pundak by Rafi Segal. Hunger in Palestine: the event that never was by Ariella Azoulay. Wall and tower - Sharon Rotbard. Space, place, and landscape - W.J.T. Mitchell. Model state - Zvi Efrat. Who is where - Eran Schaerf. Scenario data for demographic design: selections from the Blue Key archive. Apartheid cartography: the political anthropology and spatial effects of international diplomacy in Bosnia - David Campbell. Passage barre - Patrick French. Through the actual territories - Stalker. Cain, Abel and architecture - Francesco Careri. Along the Egnatia: a path of displaced memories - Osservatoria Nomade-Stalker. Jerusalem wildlife diary - Amir and Sharon Balaban. Points of suspension - Matthew Buckingham and Joachim Koester. Military operations as urban planning - Philipp Misselwitz and Eyal Weizman. Installing a "new cosmopolitics" : Derrida, the writers, and the cities of asylum - Gene Ray etc.

Torino: Galleria Franco Noero, 2008. In-4. Original stiff wraps as issued. 74 pages, richly illustrated. Text in both Italian and English. Fine copy. First edition - SIGNED IN HAND WITH PENCIL TO INNER BACKCOVER by the artist.

Los Angeles County Museum Of Art & Thames and Hudson, 1996. Large tall 4to in wraps. 192 pages, richly illustrated. Handwritten name to titlepage else light edgewear only - overall a very good clean copy. 1. ed. "William S. Burroughs, the Beat iconoclast turned cultural icon, has been practicing a postmodern voodoo alchemy, via his cut-up and fold-in techniques, that accurately reflects our fragmented, discontinuous experience of a universe that is fluid, undetermined, tangential, and absurd. His novels, once banned and condemned, have over the years earned him membership in the American Academy and Institute for Arts and Letters and the title Commandeur de l'Ordre des Arts et des Lettres in France. Now Robert A. Sobieszek, the Los Angeles County Museum of Art's curator of photography, demonstrates how Burroughs's creative practice extends to and permeates most of the arts, how his work has paralleled and in some cases anticipated significant developments in painting, assemblage, music, sculpture, video, and film. Sobieszek discusses and offers illustrations of Burroughs's extensive body of visual art - including his collages, photomontages, sculptural assemblages, shotgunned paintings, and text-image works - as well as the work of artists with whom Burroughs has either collaborated or had an affinity, including Brion Gysin, Keith Haring, Philip Taaffe, and Robert Rauschenberg."

China: Peking Foreign Language Press, 1967. 12mo in red vinyl binding as issued (13 x 9cm), pp. VI, 349 pp. Including Mao portrait frontis and Lin Biao (Piao) foreword with facsimile. Title page with red lettering in green frame. Very good clean copy. First Norwegian language edition, printed 1967 (stated) - Including the preface by Lin Biao, removed from copies after 1971.

Hannover: Kestner-Gesellschaft, 1981. Square 8vo in wraps as issued. 90 pages, illustrated throughout with photographs. Short text in German. Minor wear to cover else clean and overall a bvery good copy. First edition. Beautiful photobook: "This was the oldest cultivated region in the world, almost unaltered for six thousand years. The Garden of Eden, where time stood still. A land between two rivers, the waters of the Euphrates and the Tigris, which made agriculture possible in the wilderness. In 1980, at the outbreak of war between Iraq and Iran, Ursula Schulz-Dornburg photographed the marsh country in the lower reaches of the Tigris, the amphibious realm of the Ma'dan, one of the most ancient civilisations still existing in the world at that time. A realm of water, sky, horizon and reeds. On small islands in the water, woven out of reeds and set in among the reeds, stand the muhdif, light nomad constructions of which it is hard to say whether they are boats that have come to a temporary halt or houses that are about to cast off. At any moment more reeds can be added, in a living process in which they endure by virtue of their transitory nature. The beauty and skill that they reveal are the direct result of the simplicity and functionality of their woven construction. The enduring existence of the dwelling and its temporary nature are closely bound together in the architecture of the muhdif, as also are absoluteness and provisionality, isolation and openness. These reed structures were engraved as images on old stone stele that are now five thousand years old. In the Sumerian epic of Gilgamesh, one of the most ancient texts in human history, the origins of which go back to about 2100 B.C. and which, like the muhdif, was kept alive for thousands of years, a god, not being able to impart a warning directly to men, addresses it to the house made out of reeds: "Reed-hut, reed-hut! Wall! Wall! / Reed-hut, hearken! Wall, reflect! / Man of Shuruppak, son of Ubar-Tutu, / Tear down [this] house, build a ship! / Give up possessions, seek thou life. / Despise property and keep the soul alive! / Aboard the ship take thou the seed of all living things."

MIT Press: Wadsworth Atheneum Museum of Art., Cambridge, MA, 2001. Landscape 4to in white wraps with black lettering as issued. 112 pages, with numerous illustrations. Fine clean copy. First edition.

The MIT Press, 2016. 4to in wraps as issued. 274 pages. Richly illustrated. Text in English. Very good clean copy. The Whole Earth Catalog was started by Stewart Brand following his summer 1968 tour of communes across the Southwest with mathematician Lois Jennings. Their Dodge pickup, laden with samples of goods for sale, became known as the Whole Earth Truck Store, and Brand's first Catalog, its cover adorned with a colour photograph of the Earth seen from space, promised 'Access to Tools' and famously asserted that "We are as gods and might as well get good at it." Rather than selling anything directly, he intended it to function as both countercultural toolkit and as a manifesto for alternative lifestyles. He organised it in several sections, most of them rooted in his road trip, including Understanding Whole Systems, Shelter and Land Use, Nomadics, Communication, and Community, each category providing detailed information on how to obtain a vast array of artifacts and merchandise. Influenced by the ideas of Buckminster Fuller, Marshall McLuhan, and cyberneticists Norbert Weiner and Gregory Bateson, Brand arranged the Catalog according to the principles of systems theory, and while it embodied his vision of small-scale technology as a tool for personal liberation and social change, its contents generally eschewed overt politics in favour of do-it-yourself individualism. Brand began operating as a cultural entrepreneur at the Trips Festival, and his interdisciplinary attempt to connect distinct networks and resources in the Whole Earth Catalog used a similarly holistic approach, epitomised by the geodesic domes designed by Lloyd Kahn and others, a Catalog staple that bridged the gap between science and the counterculture. Computers were not often featured (PCs were still commercially unavailable), but Brand already envisioned them as a potentially revolutionary technology, democratising access to information and communication, and his Whole Earth Catalog, with its densely-packed references and peer-reviewed content, anticipated the hyperlinked World Wide Web that followed two decades later. he Whole Earth Catalog was a cultural touchstone of the 1960s and 1970s. The iconic cover image of the Earth viewed from space made it one of the most recognizable books on bookstore shelves. Between 1968 and 1971, almost two million copies of its various editions were sold, and not just to commune-dwellers and hippies. Millions of mainstream readers turned to the Whole Earth Catalog for practical advice and intellectual stimulation, finding everything from a review of Buckminster Fuller to recommendations for juicers. This book offers selections from eighty texts from the nearly 1,000 items of “suggested reading” in the Last Whole Earth Catalog. After an introduction that provides background information on the catalog and its founder, Stewart Brand (interesting fact: Brand got his organizational skills from a stint in the Army), the book presents the texts arranged in nine sections that echo the sections of the Whole Earth Catalog itself. Enlightening juxtapositions abound. For example, “Understanding Whole Systems” maps the holistic terrain with writings by authors from Aldo Leopold to Herbert Simon; “Land Use” features selections from Thoreau's Walden and a report from the United Nations on new energy sources; “Craft” offers excerpts from The Book of Tea and The Illustrated Hassle-Free Make Your Own Clothes Book; “Community” includes Margaret Mead and James Baldwin's odd-couple collaboration, A Rap on Race. Together, these texts offer a sourcebook for the Whole Earth culture of the 1960s and 1970s in all its infinite variety. [publisher's note].