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New York: Scribner, 1997 (1997). Publisher's hardcover with dustjacket. 827 pp. Very good clean copy. First edition, 10th printing of DeLillo's modern classic, listed as one of the 3 most important books of the last 25 years by The New York Times.

Vittorio Klostermann, 1987, 2005 & 2008. Large 8vo in wraps and volume 1 in hardcover with OU. XXXVI, 409, 372 and 304 pages. Underlinings in ink in volume one, mainly in foreword, first pages of volume two and in the foreword of the third volume. Overall a good acceptable set. Bd 1. "Einleitung: Die Exposition der Frage nach dem Sinn von Sein", Band 2: "Erster Abschnitt: Die vorbereitende Fundamentalanalyse des Daseins" § 9 – § 27 und Bd. 3: Erster Abschnitt: "Die vorbereitende Fundamentalanalyse des Daseins" § 28 - § 44. NB: Very heavy set and extra shipping may apply - please inquire before ordering these items!

New York: Alfred A. Knopf, 1991. Small quarto in publishers hardcover, with jacket. 216 pp. Jacket spine sunned else very good copy, clean and well preserved. 1st edition (stated). Jacket by Trevor Winkfield.

New Haven & London: Yale University Press with Castelli Gallery New York, 2013. Heavy 4to hardcover. 320 pages, richly illustrated. Fine copy. First edition. - "Robert Morris was one of the central figures of Minimalism. Through both his own sculptures of the 1960s and theoretical writings, Morris set forth a vision of art pared down to simple geometric shapes stripped of metaphorical associations, and focused on the artwork's interaction with the viewer. However, in contrast to fellow Minimalists Donald Judd and Carl Andre, Morris had a strikingly diverse range that extended well beyond the Minimalist ethos and was at the forefront of other contemporary American art movements as well, most notably, Process art and Land art. Through both his artwork and his critical writings, Morris explored new notions of chance, temporality, and ephemerality." Heavy item, extra shipping may apply - please inquire before ordering this book.

New York: Simon and Schuster - an Xavier Moreau Book, 1979. 4to in original full cloth hardcover, no dustjacket. 144 pp. with 110 illustrations in color. Binding a little soiled. Clean inside and overall good to very good. First edition.

Vienna & Leipzig: Braumüller, 1918. Original hardcover. XXIII, 599 pp. Binding slightly rubbed only. Name to front pastedown else clean and overall a very good copy. First edition, 17th printing in the original publishers hardcover, with frontispiece photo. Otto Weininger was a homosexual Jewish philosopher who hated women, Jews and his own homosexuality. In Vienna in 1903, shortly after converting to Christianity, he killed himself at the age of 23 in the room where Beethoven died. "The strange and troubled works by Otto Weininger’s had a considerable impact on the work of others in the day, most notably on the work of Ludwig Wittgenstein. Born in 1880, Weininger was more celebrated in his death than in his work. On 4 October 1903 he committed suicide. His death prompted a romantic attitude to suicide in the young Viennese men of his generation. His work Sex and Character had been published that year, and, unlike his death, it had not been well-received. Claiming that contemporary society was in a state of decay, his argument revolved around the polarization of masculine and feminine qualities. All positive achievements were associated with the masculine, all destructive ideas with the feminine. The Aryan race were equated with the masculine, and thus with the positive aspects of contemporary society; the Jewish race was characterized by the feminine, and thus associated with the negative. His death came to be seen as the logical outcome of these ideas, for he was both a Jew and a homosexual (the latter being equatable in Weininger’s terms with a ‘feminized man’)"

Paris: Galerie Maria Wettergren, 2022. 8vo in wraps as issued. 184 pages. Richly illustrated. New, unopened copy. "Creating pieces with an equal focus on sculptural and functional qualities, Rasmus Fenhann works almost exclusively with wood, which he carefully selects for each project. His process combines traditional and sometimes near-forgotten craft techniques with advanced technology and tooling – including CAD sketching, visualisation and processing. Fenhann’s main source of inspiration is traditional Japanese woodwork and Danish cabinetmaking, with his works often incorporating personal interpretations of select aspects of these craft traditions. His work is also stimulated by nature and the mathematical properties of natural forms – universal forms unaffected by human control. Today he is considered one of the most important Scandinavian designers within the field of hand-crafted collectible design."

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.

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.

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.

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".

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.

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).