Søkeresultat

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.

Bombay: Anandam Film Society , 1966. 4to in original wraps. Unpaginated, around 300 pages, illustrated in beautiful design. Some edgewear etc., but clean and overall well preserved and clean throughout. More photos available upon request. 1st edition. Very rare!

La Société des Expositions du Palais des Beaux-Arts de Bruxelles / Richter 1994 / 1995. Large heavy 4to in wraps as issued. 339 pages. In Dutch, French and captions in English. Some wear to spine (see photos) else very good clean copy.  First edition. Hard-to-find. - The Wide White Space Gallery was founded by Anny De Decker and Bernd Lohaus, a former student of Joseph Beuys, in Antwerp in 1966 and was managed by them both until it closed in 1976. Through its close collaboration with such artists as Joseph Beuys, Marcel Broodthaers, Lawrence Weiner, Carl Andre, Daniel Buren and Panamarenko, the Wide White Space Gallery became one of Europe's leading avant-garde galleries within the short space of only ten years. Published on the occasion of the exhibition Achter het museum - Derrière le muséee at Palais des Beaux-Arts de Bruxelles, 28.10.-31.12.1994 and MAC, galerie contemporaine des Musées de Marseille, april/may 1996. This publication contains interviews with Anny De Decker and Bernd Lohaus; with the artists Lawrence Weiner and Daniel Buren; with Johannes Cladders, the former director of the Abteiberg Museum in Monchengladbach; and with the collectors Martin Visser and Isi Fiszman. It gives a complete account of the Wide White Space exhibitions and, as such, constitutes an historical survey of contemporary art with special reference to its reception. It lists, for example, all the works shown at each exhibition, with all relevant particulars, and also supplements this information with, amongst other things, references to contemporary reviews, details and/or illustrations of the invitation cards and posters, and photos of the exhibition openings. Heavy item that may require extra shipping costs, please inquire before ordering this item!

Rome: Accademia Nazionale di San Luca, 2018. Large heavy 8vo in stiff wraps as issued. 296 pages, richly illustrated. Text in both Italian and English. Fine clean copy. First edition. Scarce.

Harper's Bazaar, 1940. Large magazine format in original wrappers. 152 pages. Spine worn (please see photo gallery) but solid and overall very good copy and complete. A rare original vintage Harper's Bazaar issue from the Carmel Snow Era, an absolute Supermagazine with Alexey Brodovitch as the art director and Diana Vreeland fashion editor. Photos by Louise Dahl-Wolfe, Cover illustration by Cassandre. Photos also by Man Ray, and Munkacsi, Kollar, etc. Several pages of illustrations by Vertes.

Offset lithographic poster on heavy paper, signed in black marker by Serra 2003. 35 × 41 inches / 88.9 × 104.1 cm. Minor edgewear. Rolled.

Düsseldorf: Droste Verlag, 1968. 8vo. Softcover as issued. 216 pp. Printed in several colors, richly illustrated by Wolf Vostell. Well preserved, clean copy with only minimal edgewear. First edition, 1st printing 1968 of this rare supercool German Pop Art item by Ohff & Vostell. Heinz Ohff (1922 – 2006) was editor and author and part of the experimental German art scene in the 60's and 70's. His book “Pop-Art und die Folgen!!!” (Pop Art and the Consequences, 1968), which Wolf Vostell “visualised”, developed cult character. "ow is this unusual intellectual and literary turn toward “pop” to be explained? In Germany, the reason lies quite unambiguously in the fact that “pop” was momentarily equated with “counter-culture” and “underground” by a great number of artists, literary columnists, politicized students and younger theorists. A starting-point for this had already been delivered by the acceptance of Pop Art among some young German artists such as Wolf Vostell. They were seeing American Pop Art in constant connection with Fluxus actions and provocative Happenings. The question: Whether the pictures and objects of Pop Art—which portrayed in part well-known consumer-objects from the American supermarket or the stars of Hollywood and Rock ’n’ Roll—were intended to be affirmative, critical or indifferent, can thereby be unambiguously answered at least in one facet: They were completely an expression of criticism to the extent that they formed an affront compared to the artistic taste of the cultured bourgeois elite (‘Bildungsbürgertum’). Even if these German artists were by no means engaged in drawing comics, manufacturing designs for cardboard detergent-boxes (and probably still preferred compositions by Stockhausen rather than listening to Brian Wilson), their mere commitment to these forms of pop culture was at that time an avant-garde act in itself. The alienating effect of Pop Art consists in taking popular objects, pictures and signs out of their usual context, in most cases slightly altering them. However, this demonstrative confession that objects of popular culture are to be valued estranges the prevailing majority of educated art lovers. Thus, the alienating effect here simply consists of artists or intellectuals positively confessing to the phenomena of ‘mass culture’ (Thomas Hecken, 2013). 

Berlin: Compton Verney, 2005. Small thick 8vo. Hardcover in dustjacket. 644 pages illustrated with numerous color photographic images throughout. Only minimal shelfwear to jacket edges else fine clean copy. First edition. Cited in Parr and Badger , Vol 3. The" J. Street Project" is a film and photography project with depictions of streets and street signs in Germany that incorporate the word ‘Jude’ (German for ‘Jew’). Hiller found a total of 303 signs in streets, lanes, roads, avenues and alleys scattered throughout the country. The work focuses on the dissonance between these mundane, everyday signs and the memories they trigger of a genocidal history. (...) For this factual, indexical project Hiller maintained a neutral seriality in her approach. Cumulatively, however, it becomes clear that the signs are loaded with the memory of Jewish presence in the locations, not just from modern times but from thousands of years of history. The tension between past and present (...)highlights the sense of absence and traumatic loss. The place names operate as memorials of erasure. Curator Renée Baert has written: The spectrum of dissonances in this work produces a constant oscillation – in the gaps and contradictions between the banal signs and terrible history they evoke; between their simple references and the complex associations they engender; between charming alleyways, leafy avenues, shady glens and the absence of Jewish communities amongst these Juden-pathways. Through discovering these street names distributed throughout the German landscape, Hiller has constituted at once a powerful commemoration and an unyielding interrogation. (Saidye Brofman Centre for the Arts 2006). Hiller has written of the work: "These street names are ghosts of the past, haunting the present. The street signs in my images explicitly name what’s missing from all of the places. I hope the work will provide an opportunity or meditation not only on this incurable, traumatic absence, but also on the causes of more recent attempts to destroy minority cultures and erase their presence".

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.

Seventeen Magazine / : Triangle Publications Inc., New York and Philadelphia 1953. Large magazine format in original wrappers. 144 pages. Warhols drawings are 4 large spreads, or 8 pages in all. Some edgewear throughout. Complete magazine. Good to very good copy. A rare original vintage Seventeen Magazine issue, an absolute Supermagazine with most beautiful examples of Warhol's commissioned magazine work. Seventeen was the first succesful magazine exclusively for teenage girls. Art Kane, who was a former student of Alexey Brodovitch, was the art editor at Seventeen magazine when Warhol was appointed. Warhol's illustrations for Seventeen are among the most creative and personal of his commercial work. - "In 1944, Impressionist art collector and philanthropist Walter Annenberg, who would head a large media empire that included newspapers and radio and television stations in the 1950s, hired Helen Valentine, later an advertising manager at Mademoiselle, to create a teenage-only magazine. Seventeen was born.The idea that teenage girls were a distinct segment of thepopulation primed for targeted marketing messages was relatively new at the time ,but because both men had a deep understanding of the youth publishing market, the magazine's monthly circulation increased from 400,000 to a million by the end of its first year. Warhol’s collaboration with Seventeen lasted from 1953 until 1961. Art Kane was art director in the first half of the 1950s and Marvin Israel replaced him in 1955. Kane and Israel had a talent for innovatively mixing illustration and photography and Warhol learned a great deal from both" (G. Maffei).

London & New York: Quartet Books, 1987. 4to. Original boards with unclipped, very fine photoillustrated dustjacket. 135 pp. Profusedly illustrated with photos of Charlotte Rampling by Helmut Newton, Jeanloup Sieff among others. Text in English. A hint of wavyness to pages and lower corners lightly dented else overall a good, clean anbd attractive copy. The book was printed in a German, a French and an English version. This, the English is the most sought-after. First edition.

New York: The Museum of Modern Art, 2011. Large heavy clothed decorated hardcover with jacket. 12-1/4 inches high by 9-3/4 inches wide. 288 pages, profusely illustrated in color and black & white. Very good copy. First edition. "The artists associated with German Expressionism in the early decades of the twentieth century took up printmaking with a dedication and fervor virtually unparalleled in the history of the genre. The woodcut, with its coarse gouges and jagged lines, is the preeminent Expressionist medium, but the movement also revolutionized etching and lithography, to alternately vibrant and stark effect. This graphic impulse can be traced from the formation of the artist group Die Brücke in 1905 through the war years of the 1910s and into the early 1930s, when individual artists continued to produce compelling work even as the movement was winding down. This volume, published in conjunction with an exhibition at The Museum of Modern Art, showcases the Museum's outstanding holdings of Expressionist prints, enhanced by a selection of drawings, paintings, and sculptures from the collection. Featuring approximately 260 works by some 30 artists, the book presents a diverse array of individuals, including Max Beckmann, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Vasily Kandinsky and Oskar Kokoschka. Essays by Starr Figura, Associate Curator of Prints and Illustrated Books at MoMA, and Peter Jelavich, Professor of History, Johns Hopkins University, discuss the centrality of printmaking in German Expressionism and provide a sociocultural backdrop for the movement.".

Lund / Lunds Konsthall: 1971. (7 x 17 cm). Double both side illustrated flipbook. [150] pp. Text in both Swedish and English. Somewhat worn but complete and solid copy. First and only edition of this rare and beautiful flipbook item by Shinkichi Tajiri, designed by Tajiri with Marianne Nanne-Bråhammar and Anders Österlin og John Melin. Photos by Violet Cornelius and Åke Hedström. Shinkichi Tajiri was born as Shinkichi George Tajiri on 7 December 1923 in Los Angeles. He was a versatile artist. Although he expressed himself in many disciplines, he made his contribution to Cobra as an experimental sculptor. In addition, he was a painter and also made photographs, films and computer drawings. With Tajiri, versatile also means internationally oriented: American because of his birthplace, Japanese because he was born to Japanese parents from an old aristocratic Samurai family, French because his artistic career started in Paris, and Dutch because he moved to the Netherlands in 1956. Innovative artists' book made in conjunction with exhibition at Lunds Konsthall, Malmö, during October, 1971. Functions as flip book, animating photographs of Tajiri blowing up a balloon alongside Swedish text. Reverse direction, contains hundreds of black and white photographs of Tajiri and his artworks alongside English captions. Tajiri was a Japanese-American artist who resided primarily in the Netherlands and was associated with Karel Appel and COBRA; this book also suggests a shared affinity with Fluxus.

London, The Bodley Head, 1966 (1965). Folio oversized tall hardcover in orginal grey boards with unclipped dustjacket. Unpaginated. Illustrated throughout and printed in Switzerland with fine saturated gravure prints. Jacket with edgewear and minor tears to edges and spine (see photos). Inside clean and bright. Overall a very good well preserved attractive copy. One of the most coveted and influential photography books of the swinging '60s. Included in 'The Open Book' catalogue of important photo books, 'Book of Nudes' (196) and Auer (449). First edition, 3rd printing.

C. W. Stincks Boghandel, 1881. 26 x 34,5 med ramme. Ramme noget slidt men solid. Med ældre ophæng. Diverse brugsspor. Julegaven til forkælede børn (og voksne) anno 1881. - Første vers af sangen "Den lille Ole med Paraplyen" af Peter Lemche er gengivet nedenfor fotoet. Fotografen Christian Peter Lauritz Wismer, født 1843 i Helsingør, død 1891 i San Francisco.

Mexico: Casa Luis Barragan, 2002. 8vo in wraps with yellow dustjacket with orange lettering (25 x 19 cm). 120 unpaginated pages, mostly illustrations. First edition, fine copy.  Rare.

Harper's Bazaar, 1950. Large magazine format in original wrappers. 210 pages. Edgewear to cover, mainly back cover, and minor wear to spine (see photos) but complete and overall a very good well preserved attractive copy. A rare original vintage Harper's Bazaar issue from the Carmel Snow Era, an absolute Supermagazine with Alexey Brodovitch as the art director and Diana Vreeland fashion editor. Cover by Richard Avedon. Contents include The Winter Season. Dovima in elegant Balenciaga black taffeta evening cape; photo by Richard Avedon. Always leave them laughing (Charlotte Greenwood, Hermione Gingold, Josephine Hall, Lucile Watson); photographed by Richard Avedon . The sash plays a leading part: Balenciaga evening dresses. Bright mules and jeweled T-straps. The open coat. Gray after dark. Dresses for the dance. The black of evening. Copycat furs. Short story by Truman Capote - A Diamond Guitar. Pale tints, petal textures. Countess Bernadotte of Sweden. Beatelund, old country estate. Sweater dresses and tops. Here comes the holidays. Ben Rose, Kay Bell layout etc etc. Many photos by Richard Avedon, Louise Dahl-Wolfe, Karen Radkai, Evelyn Hofer, among others.

Gutenberghus - Egmont H. Petersens Fond, 1946. Indbundet i 3 private hardcover bind med alle omslag medindbundne. Rabat kuponer er klippet ud og krydsogtværs er løst ellers komplet og velbevaret sæt. Flere tusind sider. Rigt illustrerede. Enestående samling af, komplet fra det første nummer Oktober 1946 til og med December 1949. Initiativtager var direktøren for Gutenberghus, teatermanden og komponisten Dan Folke, og målet var at skabe en ny stil i ugebladenes verden og et blad, som "kunne fungere som en god veninde" for den selverhvervende, moderne kvinde. Ud over at underholde og holde læserne orienteret om det nyeste inden for mode, boligindretning, håndarbejde, madlavning osv. skulle bladet også give råd og vejledning — fx i forbindelse med kærlighed, ægteskab og børn (Danmarks Nationalleksikon).

Copenhagen: Povl Branner, 1933. 8vo. Uncut in original publishers wraps as issued. 195 pages, plus complete with all flipbook photos at end - 480 cinematographic illustrations arranged in flicker-book style. Minor exterior wear and foxing to mainly topedge, else a good to very good copy. With 50 plates and 480 so-called film-reels (flip-book images), with captions. First edition thus - published not long after the Dutch version. Van der Velde (1873-1937), a Dutch gynecologist and sexologist, made his fame by writing sexual "manuals", with for the time great frankness. This work deals with female body-culture, including a description of the sexual organs. The so-called film-stroken (film-reels) at end of volume, serve, when fanned quickly, "moving" pictures of the female [nude/sparsely clothed] body, a revolution in those days. Very scarce!

Published by The Cambridge Enchorial Press, 2005. Quarto large oversized hardcover with jacket. 280 pages, profusedly illustrated. Edgewear to jacket else a clean and overall very good copy. "Helmut Krone (1925-96) was a leading seditionary in the Creative Revolution (1954-64) that transformed graphic design and advertising, i.e., his campaigns for Volkswagen & Avis ("We try harder"). The book contains 800 illustrations: Krone's work, the work which influenced him, and the work his superceded. Relying on primary sources, the book incorporates Krone's portfolios, notes, and manuscripts; the records at Doyle Dane Bernbach; the contemporary trade press; and nearly 150 interviews with colleagues, competitors, and other seditionaries. The book is conceived as the definitive primer, not only on Krone, but on the arrival of modern advertising art direction; the thinking behind it and the questions which Krone asked himself in order to provoke new meanings from design, typography and photography -- methods which continue to stimulate new and relevant solutions today". Due to size and weight extra shipping will apply for this item - please inquire before ordering!

Zurich: JRP Ringier, 2014.Large oversized and heavy 4to in wraps as issued. Some minor edgewear. 360 pages. Clean and overall a very good copy. First edition. "In designing this year’s annual report for Ringier, New York based concept artist Wade Guyton took a series of photographs to reduce one of his large works to 360 individual component pieces, which he then had bound between two book covers. As simple as that. Leafing through the 2014 Ringier annual report, the reader will be able to contemplate a whole succession of pages, each depicting one section of Guyton’s full-scale work 3031, which is 8.60 meters wide 2.75 meters high. Some of the pages are simply black, while others show traces of ink from the plotter against the original unadorned beige canvas. Large and small. A large whole and its individual small components. Black and white. Guyton’s concept inspires a whole range of possible associations. In this year’s edition, the annual report itself appears as a separate appendix, such as one might find in an art book. Here, too, Guyton creates a contrast between LARGE and small. The figures, the real core of the report, are LARGE, while the accompanying text is small. Colors have been dispensed with completely. Wade Guyton was born in the American Mid West. As a young man he moved to New York, where he took several jobs, including working as a guard at the Dia:Chelsea art center. From the very beginning of his artistic career, Photoshop and inkjet printers were central to the works he produced. Guyton, now 42, first became widely known for the large Xs that he printed onto pages of magazines and catalogs. By 2012, his work had already been recognized with a retrospective exhibition at the Whitney Museum in New York and has also been widely exhibited in Europe."

Berlin / Leipzig: Verlag Otto Beyer, 1930. Large magazine format. Some edgewear to cover and a small star formed hole going through the magazine (see more photos). Else overall very good. 50 pages including covers. Complete magazine. Rare original super issue of the legendary periodical, which in the first years of publication like no other stood for the influence of the Bauhaus in magazine design. This issue with one the best Arpke covers. - ‘Between 1929 and 1943, an outstanding new lifestyle magazine called Die Neue Linie (“The New Line”) was published by Beyer Press in Leipzig. No other publication in this period was so consistent in bringing avant-garde typographic ideas to a mass audience, as leading graphic designers from the Bauhaus, including László Moholy-Nagy, Umbo and Herbert Bayer, steered the look of the magazine, whose contents combined fashion, literature, graphic design and art. Unembellished fonts, dynamic diagonals and dramatic use of photomontage were key to the journal’s striking appearance. Its authors included Walter Gropius, Aldous Huxley, Gottfried Benn and Thomas Mann; even the advertising pages, designed by Bauhaus veterans Herbert Bayer and Kurt Kranz, were always attractively composed. Despite widespread media conformity during the Nazi era, strangely Die Neue Linie was largely spared the regime’s sanctions." ( Patrick Rossler).

London: Andre Deutsch, 1960. 4to in original publishers black hardcover complete with the beautiful dustjacket. Jacket is somewhat edgeworn but unclipped and complete and now protected. Overall a very attractive clean and a well preserved copy. First UK edition. A major jazz photobook classic, finely printed. This British edition is identical to the American Doubleday version. Jacket design by George Maas.

Conde Nast /The Vogue Company, Continental Edition London & New York, 1923. Magazine in original wraps as issued. Illustrated richly in b/w and color. pp. XII, 18 -72 (= 66 pages = complete). Somefoxing and wear to spine and cover (see photos) and edges, and one cut-out page 21/22 else complete and overall good and solid copy. Contains the most beautiful ads and advices for women what to wear. Ultra rare and very beautiful original 1923 Vogue with Plank's Jugendstil Vogue Cover. George Wolfe Plank (1883-1965) was an American artist illustrator, chiefly remembered for his long-term association with Vogue Magazine, which resulted in years of covers in an Art Deco style related to that of Helen Dryden and influenced by, among others, Edmund Dulac.