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Paris: Société Parisienne d'Editions Artistiques, s. d. (c. 1950). 4to in publisher's cardboard cover. 40 pages illustrated throughout in black and white and colour. Gravure printed. Light wear to jacket else overall a very well preserved copy. First edition. Andre de Dienes (1913-1985) was born in Transylvania, Romania in 1913. He left home at fifteen and travleled through Europe, before ending up in Tunisia, where he worked odd jobs, learned to paint, and bought his first camera. In 1933 de Dienes arrived in Paris. He made a living selling photographs to the communist newspaper La Humanite and the Associated Press until 1936, when the couturier Captain Molyneux encouraged him to become a fashion photographer. He came to America in 1938 as a young photographer with the help of Esquire Magazine. In New York he worked as a fashion photographer while photographing Harlem street life. He traveled throughout the country, fascinated by the grandeur of the western landscape and the Native American people, documenting their rich culture. In 1944 he moved to California where he photographed nudes in an outdoor setting, often incorporating his pioneering techniques of photomontage - among the young models was also Marilyn Monroe. Fascinated by the body builders and sun worshipers who congregated on Muscle Beach, he captured their exhibitionism and innocence. To support himself he freelanced for the studios and photographed Hollywood legends including Marlon Brando, Elizabeth Taylor, Henry Fonda, Fred Astaire, Ingrid Bergman, Ronald Reagan, Jane Russell, and Anita Ekberg.

San Francisco: Chronicle Books, 2013. Original heavy hardcover, no jacket as issued (26,1 x 21 cm). 423 pages, richly illustrated and including Eno's personal notebook pages, his essay "Perfume, Defense, and David Bowie's Wedding," an interview with the artist, scholarly essays, and a free downloadable piece of music written for the book (code under scratchcard still unused in colophon). Fine clean copy. First edition with full number line. "A unique tour through the visual art of creative polymath Brian Eno. Featuring over 300 illustrations of Eno's installations, light, and video artworks, this volume is the definitive monograph on a contemporary master. In addition to pages of color art, the volume includes Eno's personal notebook pages, his essay "Perfume, Defense, and David Bowie's Wedding," an interview with the artist, scholarly essays, and a free downloadable piece of music written for the book (code under scratchcard still unused in colophon).

Pasadena Art Museum, 1967. Original spiral bound pictorial boards, 25.5 x 22.5 cm. 56 pages, illustrated throughout. Foxing to edges, mainly top edge, and as always a hint of discoloring to inner covers due the qualities of paper, else only light edgewear, mainly corners, please see photo gallery.  First edition.- Artist's book / exhibition catalogue published in conjunction with show held at the Pasadena Art Museum, Pasadena, California, September 15 - October 22, 1967. Traveled to Washington University, St. Louis, Missouri, February 1 - March 3, 1968 ; and the University of Texas, Austin, Texas, March 17 - April 28, 1968. Includes interview with the artist by Barbara Bermans, chronology, biography, bibliography, and checklist. "I am put off by museums in general; they reek of a holly death which offends my sense of reality. Moreover, apart form my personal views, most advanced art of the last half-dozen years is, in my view, inappropriate for museum display. It is an art of the world: enormous scale, environmental scope, mixed media, spectator participation, technology, themes drawn from the daily milieu, and so forth. Museum do more than isolate such work from life they subtly sanctify it and thus kill it." -- statement from Kaprow's introduction to the publication.

Cologne: Verlag Studio Dumont / DuMont Buchverlag, 1976. Oblong large 4to in wraps as issued. Illustrated throughout with photographs by Ursula Schulz-Dornburg and a short text (on flaps) in both German and English by Sattler. Excellent, clean and very well preserved sharp copy - the best I have seen so far. The second photobook by Ursula Schulz-Dornburg, and made in a very similar way and same size as "Curtains at the Piazza San Marco" from 1973. 1st edition, 1st printing.

London: Thames and Hudson, 1995. Very large, very heavy 4to hardcover w jacket. 583 pages. Illustrations in b/w and colour. Minor edgewear to jacket else clean and overall a very good copy.  First UK edition. Heavy item - extra shipping charges may apply.

Published by Art Metropole, Toronto, 2011. 4to large format softcover with french flaps as issued. 386 pages, richly illustrated. Text in English. Light shelfwear to cover, inside clean and bright and overall a near fine / fine copy. First edition, first printing. "Commerce by Artists documents a fascinating and sweeping range of artists’ projects produced since the 1950s by Canadian and international artists who have sought to engage, rather than merely represent, the commercial world of which they are a part. Encompassing canonical works such as Yves Klein’s Zones of Immaterial Pictorial Sensibility (1958), Seth Siegelaub’s Artist’s Contract (1971), and Lee Lozano’s Strike Piece (1969) — as well as innovative and rarely-documented works like Keith Obadike’s Blackness for Sale (2001), Kelly Mark’s In & Out (1997-ongoing until 2032), and Ben Kinmont’s Sometimes a Nicer Sculpture Is to Be Able to Provide a Living for Your Family (1998-ongoing) — Commerce by Artists is a comprehensive document of artworks that take the form of transactions and exchanges of value". Edited by Luis Jacob with contributions by: agent.NASDAQ aka Reinhold Grether, Zeigam Azizov, Clegg & Guttmann, Carole Condé & Karl Beveridge, Isabelle De Baets and Hendrik Tratsaert, Jorge di Paola, Hu Fang, Elizabeth Ferrell, Gerald Ferguson, Andrea Fraser, Coco Fusco, Hans Haacke, Jens Hoffmann, Luis Jacob, Mary Kelly, Yves Klein, Jeffrey Kastner, Sina Najafi, Jane Crawford, Frances Richard, Richard Manning, Helen Molesworth, Keith Obadike, Hans Ulrich Obrist, Beatrix Ruf, Andrea Rosen, Martha Rosler, Reid Shier, Julian Stallabrass, Julia Steinmetz, Heather Cassils, Clover Leary, Neil Thomas, Calvin Tomkins, Mierle Laderman Ukeles, Cédric Villate et al.

Copenhagen: Eibes Forlag, 1853. Bound with "Faarekylling" (First Danish edition of "The Cricket On The Hearth") in a later, very fine brown morocco with gilt title. Only minimal brownspotting, overall clean and very well preserved. First Danish edition of '"A Christmas Carol" and First Danish edition of "The Cricket On The Hearth". Rare!

Delft IOS Press, 2014. 8vo in original boards. 1072pp, Illustrated. As new, unopened copy. Urban areas have been caught up in a turbulent process of transformation over the past 50 years and changes have been rapid, with issues such as mobility, nature, water management, energy use and public space featuring prominently.In each Olympic year since 1988, the Faculty of Architecture at Delft University of Technology has held an international conference focusing on the connection between research and design, exploring the field of tension between science, technology and art. This book presents the proceedings of the latest in this series of conferences: New Urban Configurations, held in Delft, the Netherlands, in October 2012 in collaboration with the European Association for Architectural Education (EAAE) and the International Seminar on Urban Form (ISUF). This edition of the conference discussed the role and critical potential of the architectural project in the transformation process of cities and territories that leads to new urban configurations.The publication contains all 140 accepted papers and a selection of the keynote lectures presented at the conference. The papers have been grouped into five main themes: innovation in building typology; infrastructure and the city; complex urban projects; green spaces, and delta urbanism. Four of these major topics are further divided into several subtopics. This book will be of interest to everyone involved in designing, building, thinking about as well as managing the urban landscape and territory.

New York: Grove Press, 1966. Two hardcover in original black clothed boards with gilt titles and purple endpapers in original slightly worn but solid slipcase with pasted on color illustration (see photos). LXIII, 2359 pp. Very good clean set. Complete reprint of the classic Victorian erotic autobiography, the longest ever published, in eleven volumes originally. The Grove Press reprint from 1966 was the first complete edition to be openly available, here offered in a very good second printing from 1966 complete with original slipcase. "My Secret Life, by "Walter", is the memoir of a gentleman describing the author's sexual development and experiences in Victorian England. It was first published in a private edition of eleven volumes, at the expense of the author, including an imperfect index, which appeared over seven years beginning around 1888. The work itself is enormous, amounting to over one million words. The text is repetitive and highly disorganised and the literary quality is negligible, but its frank discussion of sexual matters and other hidden aspects of Victorian life make it a rare and valuable social document. According to Steven Marcus, it is virtually the only source for information on London's houses of prostitution, in which Walter spent many hours. It has been described as "one of the strangest and most obsessive books ever written". In 1969 a British printer, Arthur Dobson, was sentenced to two years' prison for producing a UK reprint. It was not until 1995 that the work in its entirety was published openly in the UK. The identity of "Walter" is unknown. There is no scholarly consensus in favour of any of the candidates proposed.

Munich: Mahnert-Lueg, 1981. 4°. Publishers photo-illustrated wrappers with elongated French flaps as issued. App. 120 unpaginated pages illustrated throughout with b/w photos by Gelpke. Introduction in German by Allen Porter. A near fine / fine copy with only minimal shelfwear - more photos available upon request.  First edition 1st printing of Gelpke's first book, a study of Hamburg sex performers. André Gelpke (b 1947 ) is a German photographer living in Zurich, considered one of the most important photographers of post-war Europe. Gelpke studied photography with Otto Steinert at the Folkswangeschule in Essen. "8...) Andre Gelpke creates in his photographs vibrant, arresting images by offering an abundance of information. Precisely composed and perfectly framed for the composition at hand, his rich black-and - white pictures freeze time into intense images which, because of the absence of time and movement, can seem overwhelming, even alienating. Whether it is capturing a playground frozen into a timeless frieze of human and architectural forms or human subjects who are photographically transformed into virtual specters or automatons (such as the three swimmers presenting themselves for a mist-blurred lens in Kanalschwimmer, 1977 or the handshake and bow captured in Kunstverein Koln, 1979), Gelpke uses the unique technical language of photography to create evocative, emotional reflections of reality. Like all of the generation of contemporary Ger­man photographers, Gelpke, born in 1947, grew up in a divided Germany that faced huge chal­lenges of reconstruction after the war. He attended grammar schools in his hometown of Beienrode and in the industrial town of Rheydt, and second­ary schools in Rheydt and Krefeld. After various trade jobs and service in the military, and after developing an interest in photography, in 1969 he entered the Folkwangschule, Essen, where Otto Steinert, the instigator of the ''fotoform'' group which practiced a highly abstract form of pho­tography (more generally known as Subjective Photography), taught. It was under Steinert that Gelpke's style was formed, wherein vignettes of the world around him are excised and framed, so to speak. Within this style, Gelpke has produced rich and varied bodies of work. Series shown in exhibitions such as Sea Pieces, Plastic People, Sankt Pauli and published in books such as Sex­Theater, Fluchtgedanken, and the famous Der Schiefe Turm von Pisa demonstrate Gelpke works in the best documentary tradition, adding a dis­tinctive, intelligent visual rhetoric. In 1975, after working as a photojournalist for about a year, Gelpke was a co-founder of the Visum Photo Agency in Hamburg, now a leading stock photo and photographic agency. Andre Gelpke is a conservative in the pure sense of the word. Photography, however, is an immense store of forgotten and deeply hidden meanings. Because of its development throughout the entire culture, every photograph is full of symbol and meaning, which go unnoticed by most people in daily life. But the photographic work of Andre Gelpke is not merely a store of hidden emotional values; it also offers imaginative potential. This is why he at the same time is very much a progressive. He conserves and reminds us of not only the for­gotten or overlooked, but also creates, through his role as ''image designer,'' new worlds, some of them perhaps even utopias. The works in the series Fluchtgedanken, completed in 1983, for example, largely feature people shot, obviously posing, from behind, thus hiding their faces, or from angles where the hair obscures the face. Each image is myster­ious, but taken together, the series evokes a palp­able sense of otherness, despite the straightforward, recognizable imagery. Gelpke's early photographs are also often uniquely erotic, not in the conventional sense of depicting nudes or other accepted sensual material, but in his humanistic vision, which creates dense and evocative worlds within each of his compositions. Each series, moreover, is built up like a dream, where black and white shades, nuances of color, and intriguing compositional forms merge together and where one image spontaneously evokes another. In this sense, his work practice resembles that of the Old Masters, who were able to reproduce, in an enigmatic way, space, light, and depth in their paintings. Yet Gel - pke's work is unmistakably contemporary and often refers to the modern photographic masters. Gelpke has said about his work: In this visual age, when our consciousness of reality is increasingly permeated by the actualities of television, photography, and advertising, my aim is to present the photographic-bureaucratic fact collector with a selection of my reality clipping form an only apparent ''pseudo - reality'' and thereby to bring about a new questioning of reality. (Contemporary Photographers, St. James Press) At the end of the century, his work became more overtly erotic, and he has experimented with shooting in color, as in the series Fata Morgana. The series Amok and Familientag, while showing many of Gelpke's characteristic composition and fram­ing, have the additional formal attribute of often startling, oversaturated, but still realistic color. For Gelpke, experiences are memories, signs, symbols, levels, and geometric forms. As such, he cannot "do" much with them; they are "nothing." Only after the experiences become solidified in a photographic composition can he begin to change and modify them into a usable code system. He uses codification—spontaneously and impulsive­ly—to make the chaos of the world recognizable, converting chaos through his images into an elementary order. The Spanish photographer and writer Joan Fontcuberta wrote: Andre Gelpke tends to speak of two categories when referring to his work: the monologues (introspection) and the dialogues (relationships with the external). There is no opposition between them—they are complementary because they basically try to exercise two distinct types of vision upon the same reality: sensual vision and intellec­tual vision. (Contemporary Photographers, St. James Press) " (Johan Swinnen).

Boston: A Bulfinch Press Book / Little Brown andf Company 1997. Tall slim 4to in original hardcover with original, slightly discolored, obi wraparound band. 48 pages, with color illustrations. Complete. Light wear to exterior (please see photos). Overall a very good attractive copy. Originally 1959 in only 34 handmade copies with Suzie Frankfurt to poke fun at the then newly fashionable French haute cuisine for New York's beau monde. The camp, fanciful book, reproduced here in full, includes recipes for Gefilte of Fighting Fish and Roast Igyuana Andalusian, hand-lettered - mistakes and all - by Warhol's mother. This is the First edition (stated) and 1st printing in bookform.

London: Koenig Books 2013. 8vo in softcover. 279 pp. Illustrated. Text in English. Very good copy. 1st edition. - "Russia, 1917-A time of complex political upheaval that resulted in the demise of the Russian monarchy and seemingly offered great prospects for a new dawn of art and science. Inspired by revolutionary ideas, artists and enthusiasts developed innumerable musical and audio inventions, instruments and ideas often long ahead of their time-a culture that was to be cut off in its prime as it collided with the totalitarian state of the 1930s. Smirnov's account of the period offers an engaging introduction to some of the key figures and their work, including Arseny Avraamov's open-air performance of 1922 featuring the Caspian flotilla, artillery guns, hydroplanes and all the town's factory sirens; Solomon Nikritin's Projection Theatre; Alexei Gastev, the polymath who coined the term 'bio-mechanics'; pioneering film maker Dziga Vertov, director of the Laboratory of Hearing and the Symphony of Noises; and Vladimir Popov, the pioneer of Noise and inventor of Sound Machines. Shedding new light on better-known figures such as Leon Theremin (inventor of the world's first electronic musical instrument, the Theremin), the publication also investigates the work of a number of pioneers of electronic sound tracks using 'graphical sound' techniques, such as Nikolai Voinov, Evgeny Sholpo and Boris Yankovsky. From eavesdropping on pianists to the 23-string electric guitar, microtonal music to the story of the man imprisoned for pentatonic research, Noise Orchestras to Machine Worshippers, Sound sin Z documents an extraordinary and largely forgotten chapter in the history of music and audio technology."

Paris & Malmö 1979 / 1980. 4to. 28 loose pages offset with text and photographs in original worn envelope (see photos). Text sometimes in Swedish, sometimes French. Except envelope, a very good copy. Limitation not known, probably very rare. First edition. Gette returning to his investigation at the beach at Malmo in Sweden where he earlier has worked with identification of the various foliage and beach plants and photographed them. Much of Gette's early conceptual art involved the use of botanical science alongside sculpture and photography. Alice in Wonderland, documentation from earlier projects, 1971, 1972, 1973, 1975, 1976 etc. A proposal for an exhibition in Malmö.

Copenhagen: Husets Bogcafe, 1971. Large folio format in original photoillustrated stapled wraps (37 x 29 cm, about the same size as Whole Earth Catalog). Illustrated throughout with b/ w photographs. Wrappers somewhat worn with tears and lots of rubbing to edges and soiling to cover front but still tight. Inside overall clean, one page with a large tear, but no loss. Discoloring. Overall an acceptable copy of this very fragile item. More photos available upon request. 1. and only printing. Danish photobook documentary made as a celebration of the new free hippie society in the making in the north of Jutland in Denmark. Sweet counter culture! 1968 was the formation of Association of The New Society in Copenhagen. 1969 / 1970 John Lennon and Yoko Ono visted Nordenfjord World University (Verdensuniversitetet) part of the groups activity in Jutland. 1970 The association The New Society purchased of 40 - 47 acres in Han District, between Froestrup and Oesterild. Thylejren was also called Froestrup camp after the name of the nearest village, Froestrup, here they would try to live in a new way. In 1970, escalated the association's activities in a large-scale summer festival that not only lasted 3 days, as it is common for festivals, but the entire 10 weeks. The goal was to explore alternative ways of being together in order to find new models of society.The first festival had 3,000 participants and thousands of visitors and curious to visit over the summer. The present publication is the original documentation of that summer made in the format resembling The Whole Earth Catalog. Extremely scarce!"

MIT Press, 1993. 8vo in publishers hardcover with dustjacket. XVIII, 348 p. Illustrated. Fine clean copy. Book and jacket design by Jean Wilcox. First edition - attractive copy. "On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists--Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe--but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin."

New York Geneva Stockholm: United Nations Conservation Foundation, 1972 for United Nations Conference on the Human Environment Stockholm, Sweden. Small sqaurish 8vo. Five booklets in original slipcase. Slipcase edgeworn, rubbed at corners but complete and is not damaged, no loss and is also clean. The folders all excellent, sharp and clean and beautiful. More photos available upon request. Stockholm, 1972. Five years after the Summer of Love, four after the Paris riots; the Cold War is in full swing. The Club of Rome has just projected a future in which the demands of a growing human population outstrip the Earth's capacity to provide. The blue whale, the biggest animal that ever lived, has been hunted almost to extinction. Atom bomb tests continue to garnish the world in strontium-90; and from Japan to Europe to North America, man-made poisons are affecting plants, animals and people. Economically, the world has never had it so good. But governments are beginning to realise that nature is paying a price. On 5 June 1972, in the Swedish capital, they began to build their response, in the form of the United Nations Conference on the Human Environment - the first UN summit on the environment, and the event that really put the issue on the global political agenda. (...) no country in the world had a ministry of the environment before Stockholm, as the first the Norwegian delegation raced back to Oslo and established a ministry. Stockholm started something; it put the environment on the political agenda." Internationally, that agenda would lead in 1987 to the Brundtland Commission and its famous definition of a sustainable society as one that "meets the needs of the present without compromising the ability of future generations to meet their own needs". It would lead to the Rio de Janeiro Earth Summit in 1992, which gave birth to UN conventions on climate change, biodiversity and desertification, and the Agenda 21 "roadmap" to sustainable development. This is the original UN publication from 1972 complete with 5 pamphlets (in portfolio) illus. 16 x 21 cm. [1] Resources: used and abused / John Ludwigson. [2] Pollutants: poisons around the world / Jeremy Main. [3] A world of cities / Frederick Gutheim. [4] A watch on the earth / G. M. Woodwell. [5] The art of progress development and the environment / Anthony Wolff. With photographs by Cornell Capa, Rene Burri, Ansel Adams, George Rodger, Bruce Davidson, Henri Cartier-Bresson, NASA, Andre Kertesz, Eugene Smith, Marc Riboud and others.

MIT Press, Cambridge, 1999. Large thick 8vo in publishers hardcover, w jacket protected. 52, 569 pp. Illustrated b/w. Book and jacket design by Ori Kometani. Fine attractive copy. First edition of the landmark anthology collecting for the first time the key historical documents that helped give definition and purpose to the conceptual art movement : "Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews. Contributors Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raúl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Hélio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson.

Paris Les Editions Conde Nast 1924. Magazine in original wraps as issued. Illustrated richly in b/w and color. pp. XXXVI, pp. 20-80 (= 96 pages = complete). Some wear to spine and foxing to cover (see photos) but complete and overall a good and solid copy. The sticker to front is an original 1924 sticker. Cover os a classic pastoral scene by French illustrator Pierre Brissaud shows a butterfly catcher in summer whites pausing to appreciate her prey. The butterfly itself was a frequent motif of Vogue's early illustrated covers one of many symbols to represent continuation in the face of eternal change. Beautiful ads.

Sovetakan grokh (Grogh), Armenia, 1988. 8vo. Original hardcover with dustjacket. 255 pages. Text in Russian. Illustrated. Well preserved. First edition - INSCRIBED by Peleshian to Danish film director and critic Chr. Braad Thomsen, dated 1990. - Artavazd Peleshyan (Artavazd (Art’ur) P’eleshyan; also Pelechian, Peleshian, b.1938) is an Armenian director of essay films, a documentarian in the history of film art, a screenwriter, and a film theorist. He is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Filmmaker Sergei Parajanov has referred to Peleshyan as "one of the few authentic geniuses in the world of cinema". The first of Pelechian’s films to be screened in the West, "We" (1969) was shown at the International Short Film Festival Oberhausen in Germany, where it received first prize from the jury. His practice of cinematic montage escapes the classical rules of montage, developed by the film pioneers of the early decades of the 20th century, in particular, Sergei Eisenstein in the USSR, Georges Méliès in France, and D.W. Griffith in the United States. Whereas classical montage tended to place two images next to each other that are together of significance, Pelechian to the contrary strives to distance them, placing other images and sounds in between in order to emphasize the echo they have with each other. Distance montage thus structures itself by playing with repetitions and subtle variations in visual and sound motifs. He presents this scrupulous montage method in a famous theoretical text, “Contrapuntal Montage, or the Theory of Distance,” written at the beginning of the 1970s and published in a collection of texts published in Russian under the title Moyo Kino [My cinema] in 1988."- "A Pelechian film is constructed like a rosary, with a larger bead periodically separating series of smaller beads. The larger beads are the “support sequences,” and the smaller ones, distributed between them, are the “independent sequences”. There are a limited number of support sequences—two, three, four. They contain few shots, and consistently use select shots from previous support sequences. They function as a chorus. Between them, the independent sequences, sometimes reduced to a single shot, are subject to widely varied combinations of which the general rule is quickness allied with repetition.” - Barthélemy Amengual, “Sur Cinq Films d’Artavazd Pelechian” [On five films by Artavazd Pelechian], in Cahiers de la Cinémathèque, no. 67/68, December 1997.

Sweden: Moderna Museet, Stockholm 1964. Square small 8vo 21,5 x 21,5 cm in original wraps. 112 pages plus ads. Illustrated richly and printed multi-colored. Good to very good copy with a crease to frontcover upper right corner (see photos) and else only light handling wear. Complete. 1st printing. - Moderna museets utställningskatalog, no. 37. Before Melin did the 1968 Warhol catalogue for Moderna, he did this, and it is the perfect companion. A true masterpiece!

Berlin: Verlag von Wilhelm Ernst & Sohn, 1908. Large8vo. Original hardcover, Ganzleinen, vergoldet. VII, 432 S., mit 498 Abbildungen, mit alle 5 Gravuren und 1 gef. Karte ("Die Ost-See" - mit ca. 2 cm langem Riss, aber kein Verlust). Sehr schönes Exemplar! First edition, with all 5 engravings and with 1 map of the Baltic Sea- region, this with a minor tear but no loss, else clean and very well preserved in the original fine binding with gilt title. Illustrated very richly with many photographs from the city.

Canada: Regina Campus, 1972. 4to in simple wraps. 93 pages. Some minor sunning to cover. Last page with a small tear else clean fine copy. More photos available upon request. First printing. - A rare copy of the original pre-publication version produced in Canada during Ken Friedman's period as artist in residence at Saskatchewan University's Regina Campus in March 1972. Friedman states in the foreword that the final version will have an introduction by Jorge Glusberg, of the Centro de Arte y Communicacion in Buenos Aires, and a SYMPOSIUM, in which Dietricht Albrecht, Tom Albright, Alison Knowles, Richard Kostelanetz, Lucy Lippard, Michael Morris, George Neubert, Jock Reynolds, Klaus Staeck, and Denis Wheeler is planned.

New York: Hearst Magazines / Harper's Bazaar, 1939. Large magazine format in original wrappers. Some minor soiling to front cover right top, wrappers edgeworn and wear to spine (see photos) but solid. 172 pages, richly illustrated, and complete issue. In all a good / very good copy.  A very rare 1939 vintage Harper's Bazaar issue with original cover by A.M Cassandre, the legendary Art Deco poster artist. Photos by Louise Dahl-Wolfe, Munkacsi, among others.

Copenhagen, 1917. Folio. One sheet. Drawing with pencil and hand colored with red water color on thick paper. Minor foxing, overall well preserved. 25 x 33 cm. "Der findes ikke magen til unge pigers sind, de siger nej om dagen, men ja i måneskin". Sung by Kiss Gregers at the Copenhagen Tivoli Revy in 1917, it was a hit and the lyrics co-written by Carl Actander and C. Th. Dreyer, the later very famous Danish filmmaker. This is a original handmade drawing for the original music sheet front cover. Handpainted. Artist unknown.

Lunds Konsthall, 1969. Kvadratisk 4to. Original grønt omslag. Mappe med løst indlagt materiale af de deltagende kunstnere (komplet). Fint eksemplar. Første oplag / First edition. Fine copy. Særdeles fin avantgarde publikation fra kredsen omkring Eks-skolen og tidskriftet TA' BOX.