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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".

London, Imago Publishing Co, 1955 (1948). Original blue cloth. 4 Blätter, 605 Seiten, 5 Blätter. Einige wenige Bleistiftsnotizen, sonst gutes Exemplar. Inhalt: Notiz über den 'Wunderblock'. Die Verneinung. Einige psychische Folgen des anatomischen Geschlechtsunterschieds 'Selbstdarstellung'. Die Widerstände gegen die Psychoanalyse. Hemmung, Symptom und Angst. Die Frage der Laienanalyse. Psycho-Analysis. Fetischismus. Nachtrag zur Arbeit über den Moses des Michelangelo. Die Zukunft einer Illusion. Der Humor. Ein religiöses Erlebnis. Dostojewski und die Vatertötung. Das Unbehagen in der Kultur. Über libidinöse Typen. Über die weibliche Sexualität. Das Fakultätsgutachten im Prozes Halsmann. Goethe-Preis 1930 - Brief an Dr. Alfons Paquet. Ansprache im Frankfurter Goethe-Haus. An Romain Rolland. Ernest Jones zum 50. Geburtstag. Brief an den Herausgeber der 'Jüdischen Presszentrale Zürich'. To the Opening of the Hebrew University. Brief an Maxim Leroy über einen Traum des Cartesius. Brief an den Bürgermeister der Stadt Pribor. Josef Breuer+ Karl Abraham+ Geleitwort zu 'Verwahrloste Jugend' von August Aichhorn. Bemerkung zu E. Pickworth Farrow's 'Eine Kindheitserinnerung aus dem 6. Lebensjahr'. Vorrede zur hebräischen Ausgabe von 'Totem und Tabu'. Geleitwort zu 'Medical Review of Reviews', Vol.XXXVI, 1930. Vorwort zu 'Zehn Jahre Berliner Psychoanalytisches Institut'. Geleitwort zu 'Elementi di Psicoanalisi' von Edoardo Weiss.

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.

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

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.

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.

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.

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

Borgen, 1986. 222 pp. Hft. Illustreret. Navn, lidt brugsspor. Heri blandt de fire tekster af Yanagi oversat til dansk "Ornamentets Væsen", "Tanker om Te-ceremonien", "At se. At vide" og "Æstetikkens forkyndelse".

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

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."

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].

Seattle / Andover: University of Washington for Addison Gallery, 1993. Landscape 4to in wraps as issued (11.25" x 9" inch). 88 pages with essays by Jack Reynolds and Andrea Miller-Keller; Drawings in Progress and Drawings in Completed Exhibition, profusely illustrate in color and black-and-white, many full-page. Fine clean well preserved copy. First edition.

Olafur Eliasson, [Copenhagen], 2012. Large squarish 4to in wraps as issued. One of 1000 digitally numbered copies. Text in English. Fine copy. 1. edition.

New Haven / London : Yale University Press, 1988. Publishers hardcover, w fine jacket. XV, 425 pp. With illustrations. Fine clean copy. First edition, attractive copy.

New York: Pantheon Books, 1999. 8vo in publishers hardcover with unclipped protected jacket. 278 pages. Well preserved clean copy. First US edition, 2nd printing.

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.

Biot: Musée National Fernand Léger, s.d.. but around 1980 or later (1950). 4° in stiff white wraps. App. 70 pages with illustrations in black and white. Fine clean copy. Cirque was Leger's master graphic work, originally a compendium of 34 color lithographs and 29 in black- in this facsimile reprint only in black and white. The text is Léger's own in Leger's reproduced handwritten text: "Go to the circus. Nothing is as round as the circus. It is an enormous bowl in which circular forms unroll. Nothing stops, everything is connected, the ring dominates, commands, absorbs" .

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.

London: Panther Paperback, 1962 (1959). 319 pages. Very good copy.

New York: Something Else Press, 1969 (1930). 8vo in original quarter white cloth and blue paper-covered boards with unclipped well preserved dustjacket. Unpaginated. Near fine to fine clean copy. First US edition.

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."

Hans Reitzels Forlag / Thaning & Appel, 1963 til 1968. 12 bind i originale røde hardcover bind med røde topsnit og titler i guld og med smudsomslag. Pænt sæt af den uforkortede danske udgave af Casanovas erindringer.

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.