{"id":288,"date":"2017-02-10T23:53:33","date_gmt":"2017-02-10T23:53:33","guid":{"rendered":"http:\/\/christianapeterson.com\/?page_id=288"},"modified":"2024-01-26T20:23:04","modified_gmt":"2024-01-26T20:23:04","slug":"catalog-14","status":"publish","type":"page","link":"https:\/\/christianapeterson.com\/catalog-14\/","title":{"rendered":"Catalog 14 \u2013\u00a0Art, Architecture & Design"},"content":{"rendered":"

ART \u2014\u00a0<\/b>1-31
\nARCHITECTURE \u2014\u00a0<\/b>32-96
\nARTS & CRAFTS MOVEMENT \u2014\u00a0<\/b>97-110
\nDESIGN \u2014\u00a0<\/b>111-134<\/p>\n

ART<\/b><\/p>\n

1.\u00a0 <\/span>ALBERS, Josef.\u00a0 <\/span><\/b>Formulation: Articulation<\/i>, New York: Harry N. Abrams, 1972.\u00a0 <\/span>Folder, 15 x 40 inches, 2 screen prints, with printed sheet.<\/p>\n

This is the prospectus for a set of two portfolios of the same title, which contained 66 such folders.\u00a0 <\/span>This folder comprises two original serigraphs, both abstractions, one printed in yellow and black, the other in purple and rust.\u00a0 <\/span>The loose sheet explains the project, which was limited to 1,000 copies and priced at $1,350.\u00a0 <\/span>According to Albers, \u201cOur aim is not a retrospective report; the portfolios aim at art itself, meaning: no reproduction in the usual sense; these are visual realizations here presented outspoken in silkscreen.\u201d\u00a0 <\/span>Near fine condition, in original cardboard shipping box.\u00a0 <\/span>$250<\/p>\n

2.\u00a0 <\/span>ART MUSEUMS.\u00a0 <\/span><\/b>Susan Stan, Careers in Art Museums<\/i>, Minneapolis: Lerner, 1983.\u00a0 <\/span>Hardcover (paper over boards), 7 \u00bd x 7 \u00bd inches, 36 pages, 15 color halftone illustrations.<\/p>\n

This little publication, issued without a dustjacket, was part of Lerner Publications\u2019 series of \u201cEarly Career Books,\u201d intended for pre-college aged students.\u00a0 <\/span>This one covers fifteen jobs in an art museum, with text and images. Set at the Minneapolis Institute of Arts, they include director, curator, registrar, librarian, graphic designer, membership director, security guard, and docent.\u00a0 <\/span>A very amusing item for anyone who has every worked in an art museum.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$25<\/p>\n

3.\u00a0 <\/span>BALDESSARI, John.\u00a0 <\/span><\/b>Close-Cropped Tales<\/i>, Buffalo: CEPA Gallery, 1981.\u00a0 <\/span>Softcover, 9 x 7 inches, unpaginated, halftone illustrations.<\/p>\n

An artist\u2019s book that accompanied simultaneous exhibitions at CEPA and the Albright-Knox Art Gallery, both in Buffalo, New York.\u00a0 <\/span>Comprises six sequences of photographic images, from \u201cA Three-Sided Tale\u201d to \u201cAn Eight-Sided Tale.\u201d\u00a0 <\/span>Each one features images that Baldessari apparently found in the popular press and then cut into shapes.\u00a0 <\/span>Among the subjects are crime, animals, and transportation.\u00a0 <\/span>Light scuffs to title page, small wear to top of spine, and folds to first four pages.\u00a0 <\/span>$125<\/p>\n

4.\u00a0 <\/span>BLACK MOUNTAIN College.\u00a0 <\/span><\/b>Mary Emma Harris, The Arts at Black Mountain College<\/i>, Cambridge, Massachusetts: MIT Press, 1987.\u00a0 <\/span>Hardcover (black and blind-stamped green cloth), 12 \u00be x 9 \u00bc inches, 320 pages, halftone illustrations (some in color), dustjacket.<\/p>\n

This comprises a definitive account of Black Mountain College, a small experimental school near Asheville, North Carolina.\u00a0 <\/span>Operating from 1933 to 1957, it \u201claunched a remarkable number of artists who provided the wellspring for the avant-garde in America after 1960.\u201d\u00a0 <\/span>Among those working in the visual, literary, and performing arts were John Cage, Harry Callahan, Merce Cunningham, Willem de Kooning, Buckminster Fuller, and Robert Rauschenberg.\u00a0 <\/span>Includes an extensive bibliography on the school and its teachers and students.\u00a0 <\/span>Near fine condition, in dustjacket with a few wrinkles and indentations.\u00a0 <\/span>$35<\/p>\n

5.\u00a0 <\/span>BRAQUE, Georges.<\/b>\u00a0 <\/span>Werner Hofmann, Georges Braque: His Graphic Work<\/i>, New York: Harry N. Abrams, 1961.\u00a0 <\/span>Hardcover (white-stamped black cloth), unpaginated, 12 \u00be x 10 \u00be inches, 174 screen-gravure illustrations (some in color), dustjacket.<\/p>\n

Features prints by the great revolutionary artist (1882-1963), a few years before he died.\u00a0 <\/span>It includes his Cubist etchings from around 1910 and lithographs, both monochrome and in color, dating to 1960.\u00a0 <\/span>The latter often were abstract images of flowers, fruit, shells, birds, and other everyday subjects.\u00a0 <\/span>Braque is quoted as saying, \u201cI am trying to ally myself with nature, not to imitate it.\u201d\u00a0 <\/span>The rich, large illustrations are usually presented one to a page, sometimes in their original size. Tiny shelf wear, in dustjacket that is lightly rubbed and worn at a few corners.\u00a0 <\/span>$75<\/p>\n

6.\u00a0 <\/span>CHICAGO.<\/b><\/p>\n

<\/i>Exhibition Momentum<\/i>, Chicago: Roosevelt College, 1948.\u00a0 <\/span>Softcover, 9 x 5 \u00be inches, 36 pages, one illustration.\u00a0 <\/span>This attractive catalog accompanied an exhibition that was organized after the Art Institute of Chicago decided to exclude work by undergraduate art students from its 52nd Annual Exhibition by Artists of Chicago and Vicinity (see below).\u00a0 <\/span>However, it was not limited to undergraduate artists, being open to all artists of the local area, to all media, and to \u201call art languages.\u201d\u00a0 <\/span>In the introduction, Hugo Weber stated, \u201cExhibition Momentum is one means of activating a progressive reaction against this situation.\u00a0 <\/span>Its prospectus lays no stipulations (such as academic status, artistic idiom, etc.) on the simple right of the artist to exhibit his work.\u201d\u00a0 <\/span>Among those included are Serge Chermayeff (oil), June Leaf (oil), Nathan Lerner (oil), Arthur Siegel (photogram), and Art Sinsabaugh (photograph).\u00a0 <\/span>The checklist comprises 91 items, with prices, and the jury of three included Josef Albers.\u00a0 <\/span>The catalog is printed on three different colors of construction paper, the outside cover is on a gauze-like fabric, and the inside cover bears an original screenprint by George Murphy.\u00a0 <\/span>Tiny edgewear. \u00a0 \u00a0<\/span><\/p>\n

52nd<\/sup> Annual Exhibition by Artists of Chicago and Vicinity,<\/i> Art Institute of Chicago, 1948.\u00a0 <\/span>Softcover, 10 x 7 \u00bd inches, 24 pages, 13 halftone illustrations.<\/p>\n

Catalog with 207 entries, including oil paintings, sculpture, prints, and drawings.\u00a0 <\/span>Features a list of the 12 prizewinners, with biographical information on them.\u00a0 <\/span>Covers rubbed and one page loose. \u00a0Related pair: $75<\/p>\n

7.\u00a0 <\/span>DALI, Salvador.\u00a0 <\/span><\/b>Maurice Sandoz, Fantastic Memories<\/i>, Garden City, New York: Doubleday, Doran and Company, 1945.\u00a0 <\/span>Hardcover (black and gold-stamped green cloth), 10 \u00bc x 7 \u00bc inches, 128 pages, 23 line illustrations, dustjacket.<\/p>\n

Contains fifteen stories by Sandoz of strange happenings and thoughts that he could not explain.\u00a0 <\/span>Among the subjects of Dali\u2019s interpretations are apparitional figures, a fashionable couple, insects, caskets, crutches, and a pair of airborne lips.\u00a0 <\/span>The color cover image by him presents a large harry hand with a diminutive female head pinned inside a wooden box and labeled \u201cAraignee Mygale,\u201d referring to a type of tarantula.\u00a0 <\/span>Tiny wear to top and bottom of spine, in price-clipped dustjacket that is lightly worn and torn and missing a few small pieces.\u00a0 <\/span>$75<\/p>\n

8.\u00a0 <\/span>DEGAS, Edgar.\u00a0 <\/span><\/b>Degas<\/i>, Geneva, Switzerland: Albert Skira, 1954.\u00a0 <\/span>Hardcover (red-stamped white cloth), 7 \u00bc x 6 \u00bd inches, 108 pages, color halftone illustrations.<\/p>\n

One of the many small, attractive monographs published by Skira (without dustjackets), with all of the plates tipped-in.\u00a0 <\/span>Fran\u00e7ois Fosca provides the biographical and critical text, covering Degas\u2019 portraits, theater and ballet paintings, open-air work, lighting techniques, and compositional attributes.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$35<\/p>\n

9.\u00a0 <\/span>DINE, Jim.<\/b>\u00a0 <\/span>Ellen G. D\u2019Oench and Jean E. Feinbert, Jim Dine Prints, 1977-1985<\/i>, New York: Harper & Row, 1986.\u00a0 <\/span>Hardcover (silver-stamped black cloth), 11 \u00bc x 9 \u00bc inches, 184 pages, 230 halftone illustrations (some in color), dustjacket.<\/p>\n

The catalog raisonn\u00e9 for an eight-year period of Dine\u2019s printmaking, the second of three such volumes.\u00a0 <\/span>It details 206 prints, in various media, and also features two essays, addressing his themes and working methods, a chronology, and a bibliography.\u00a0 <\/span>Near fine condition, in price-clipped dustjacket with tiny edgewear.\u00a0 <\/span>$75<\/p>\n

10.\u00a0 <\/span>DINE, Jim.<\/b>\u00a0 <\/span>Elizabeth Carpenter, Jim Dine Prints, 1985-2000: A Catalogue Raisonn\u00e9<\/i>, Minneapolis Institute of Arts, 2000.\u00a0 <\/span>Hardcover (gold and blind-stamped blue cloth), 12 \u00bc x 9 \u00be inches, 256 pages, halftone illustrations (some in color), dustjacket.\u00a0 <\/span>Signed, with ephemera.<\/p>\n

The most recent comprehensive examination of Dine\u2019s prints, this one covers 163 prints and 14 Livres d\u2019Artiste<\/i> and portfolios.\u00a0 <\/span>Includes essays by Carpenter and Joseph Ruzicka, plus a print exhibition history, and glossary of printmaking terms.\u00a0 <\/span>Laid into this copy is an invitation to the opening of the accompanying exhibition at the museum.\u00a0 <\/span>This copy boldly signed by Dine on the half-title page.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$250<\/p>\n

11.\u00a0 <\/span>HOVING, Thomas.\u00a0 <\/span><\/b>False Impressions: the Hunt for Big-Time Art Fakes<\/i>, New York: Simon & Schuster, 1996.\u00a0 <\/span>Hardcover (red-stamped black cloth and paper over boards), 9 \u00bd x 6 \u00bd inches, 368 pages, 32 halftone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

The former director of the Metropolitan Museum of Art covers forgeries from the ancient world, middle ages, Renaissance, Victorian era, and twentieth century.\u00a0 <\/span>With wit and irreverence, Hoving writes about the motives and methods of the scammers, collectors who fall for them, and those out to reveal the fakes.\u00a0 <\/span>And he asks the question, \u201cIf a fake fools everybody, why isn\u2019t it as good as the genuine article?\u201d\u00a0 <\/span>This copy signed by Hoving.\u00a0 <\/span>Near fine condition, in dustjacket with tiny marks to back.\u00a0 <\/span>$25<\/p>\n

12.\u00a0 <\/span>INDIANA, Robert.\u00a0 <\/span><\/b>Decade<\/i>, New York: Multiples, 1971.\u00a0 <\/span>Brochure, 5 \u00bd x 4 \u00bd inches, 13 panels, 10 color halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

This is the prospectus for a portfolio of ten serigraphs (screen prints) published by Multiples.\u00a0 <\/span>Indiana created the original images between 1960 and 1969, which include \u201cThe Figure 5,\u201d \u201cMississippi,\u201d and \u201cBlack and White Love.\u201d\u00a0 <\/span>Pop artist Robert Indiana (born 1928) is widely known for his \u201cLOVE\u201d design.\u00a0 <\/span>This copy signed by Indiana.\u00a0 <\/span>One corner wrinkled and tiny whole throughout.\u00a0 <\/span>$35<\/p>\n

13.\u00a0 <\/span>JANSMA, Rein.\u00a0 <\/span><\/b>Stairs<\/i>, New York: Joost Elffers, 1999.\u00a0 <\/span>Hardcover (gray-stamped tan cloth), 10 x 7 \u00bd inches, slipcase.<\/p>\n

Originally issued in 1982, this item comprises ten pop-up stairs, with no text.\u00a0 <\/span>Jansma is a well-known architect in the Netherlands and partner in the firm of Zwarts & Jansma.\u00a0 <\/span>Among their projects was the Dutch Pavilion at the 1992 World Exhibition in Spain.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$50<\/p>\n

14.\u00a0 <\/span>KALEIDOSCOPE House.\u00a0 <\/span><\/b>The Kaleidoscope House: Art Collection #1<\/i>, Philadelphia: Bozart Toys, 2000.\u00a0 <\/span>Cardboard box, 8 x 14 \u00bc x 4 \u00bd inches, with objects.<\/p>\n

This unusual item comprises a set of accessories for a new, modernist dollhouse, one of a series of children\u2019s educational toys designed by artists.\u00a0 <\/span>This collection comprises 1:12 scale reproductions of works by Mel Bochner, Carroll Dunham, Peter Halley, Mel Kendrick, Laurie Simmons, and Cindy Sherman.\u00a0 <\/span>Simmons and Peter Wheelwright state, \u201cThe Kaleidoscope House came out of our shared interests in domesticity and in particular the changing practices of home and family.\u00a0 <\/span>Our individual work in photography and architecture has focused on these issues, and the promptings of our respective children have often figured in our thinking.\u201d\u00a0 <\/span>The box is complete and unopened, in fine condition.\u00a0 <\/span>$50<\/p>\n

15.\u00a0 <\/span>MAGRITTE, Ren\u00e9.\u00a0 <\/span><\/b>Duane Michals, A Visit with Magritte<\/i>, Providence, Rhode Island: Matrix, 1981.\u00a0 <\/span>Softcover, 8 x 8 \u00bc inches, unpaginated, halftone illustrations (some in color), dustjacket.<\/p>\n

A series of photographs that Michals made when he visited the painter Ren\u00e9 Magritte in Brussels in 1965.\u00a0 <\/span>They show the artist, sometimes in his signature bowler hat, and objects and paintings in his house.\u00a0 <\/span>Tiny wear to dustjacket.\u00a0 <\/span>$50<\/p>\n

16.\u00a0 <\/span>MAGRITTE, Ren\u00e9.\u00a0<\/b>Ren\u00e9 Magritte: Photographs<\/i>, New York: Pace\/MacGill Gallery, 1990.\u00a0 Softcover, 11 x 8 \u00bd inches, unpaginated, 21 halftone illustrations.<\/p>\n

Snapshots by the painter of friends and himself, dating from the 1920s to 1940s.\u00a0 Some reveal Surrealistic elements, such as a woman holding a glass and a leaf.\u00a0 Text by Pierre Sterckx.\u00a0 Die-cut cover with portrait of Magritte showing through.\u00a0 Laid in is a card announcement of the accompanying exhibition.<\/p>\n

Ren\u00e9 Magritte: Paintings\/Drawings\/Sculpture<\/i>, New York: Pace Gallery, 1990.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, unpaginated, 30 halftone illustrations (some in color).\u00a0 <\/span>Offers work in various media, from the 1920s to sixties.\u00a0 <\/span>Includes a few gatefolds and commentary by Magritte himself. \u00a0 <\/span>The die-cut cover reveals a classical female figure, which in the full painting is superimposed on the back of a man in a bowler hat, contemplating a forest.<\/p>\n

Two volumes housed in the original slipcase that reproduces Magritte\u2019s painted images of clouds.\u00a0 <\/span>Books near fine, the slipcase with a few wrinkles along the spine.\u00a0 <\/span>$35<\/p>\n

17.\u00a0 <\/span>MAGRITTE, Ren\u00e9.\u00a0 <\/span><\/b>Ren\u00e9 Magritte: Peintures et Gouaches<\/i>, Antwerp, Netherlands: Ronny Van de Velde, 1994.\u00a0 <\/span>Hardcover (printed paper over boards), 10 x 13 \u00be inches, unpaginated, halftone illustrations (some in color).<\/p>\n

This is an elaborate production, published posthumously without Magritte\u2019s input, but sporting the look of an artist\u2019s scrapbook.\u00a0 <\/span>Most of the illustrations are tipped-in, along with one that is stapled in and one that is held in place by corners.\u00a0 <\/span>They include: reproductions of snapshots of the artist with friends; color reproductions of many of his paintings; reproductions of documents like an exhibition proposal and a hand-written letter; and advertisements for bedroom slippers.\u00a0 <\/span>With an essay by David Sylvester, bilingual in Dutch and French.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$125<\/p>\n

18.\u00a0 <\/span>NATIONAL GALLERY, London.\u00a0 <\/span><\/b>Paintings and Drawings on the Backs of National Gallery Pictures<\/i>, London: National Gallery, 1946.\u00a0 <\/span>Hardcover (gold and blind-stamped black cloth), 11 \u00bc x 8 \u00bd inches, 56 pages, 42 screen-gravure illustrations.<\/p>\n

With a preface and notes by Martin Davies, this comes off as an unintentional conceptual piece.\u00a0 <\/span>The images show designs, lettering, and alternative art, sometimes quite finished but often mere sketches.\u00a0 <\/span>Davies notes that since individuals rarely had access to the reverse sides of the museum\u2019s holdings, \u201ca book of plates may therefore be of some use.\u201d\u00a0 <\/span>Probably issued with a dustjacket, the covers are lightly scuffed and worn.\u00a0 <\/span>$25<\/p>\n

19.\u00a0 <\/span>OLDENBURG, Claes.\u00a0 <\/span><\/b>Store Days: Documents from The Store (1961) and Ray Gun Theater (1962)<\/i>, New York: Something Else Press, 1967.\u00a0 <\/span>Hardcover (pink, silver, and blind-stamped white cloth), 11 x 8 \u00bd inches, 152 pages, halftone illustrations (some in color), dustjacket, with ephemera.<\/p>\n

This is an important book on early Pop Art, when Oldenburg rented a storefront (107 East Second Street, New York), to sell 3-dimensional artwork, exhibit manufactured objects that inspired him, and present theatrical happenings.\u00a0 <\/span>Seen here are texts, graphic material, and photographic images from 1961-1962.\u00a0 <\/span>Most of the photographs are by Robert R. McElroy, who is credited on the title page and whom is remembered in a copy of his New York Times<\/i> obituary (on original newsprint), that is laid into this copy.\u00a0 <\/span>Includes the business card for The Store and Oldenburg, in the glassine envelope pasted to the front free-end paper.\u00a0 <\/span>Cloth near fine except for very light foxing, in dustjacket that is rubbed and with one short tear.\u00a0 <\/span>$500<\/p>\n

20.\u00a0 <\/span>PICASSO, Pablo.\u00a0 <\/span><\/b>Life<\/i>, December 27, 1968.\u00a0 <\/span>Softcover, 13 \u00be x 10 \u00bd inches, 134 pages, halftone illustrations (some in color).<\/p>\n

A special double issue completely devoted to the master artist, five years before he died in 1973.\u00a0 <\/span>The cover presents a photograph by Robert Doisneau showing Picasso looking through a window with his palms placed on the glass.\u00a0 <\/span>Inside are heavily illustrated short texts on the artist\u2019s power, his Spain, his early years, Cubism, his women, his painting \u201cGuernica,\u201d his metamorphosis, his disguises, and an essay by Leo Steinberg on the \u201cSleep Watchers\u201d series.\u00a0 <\/span>Laid in are a few articles on Picasso from other magazines. Covers lightly worn, with mailing label.\u00a0 <\/span>$25<\/p>\n

21.\u00a0 <\/span>POP ART.\u00a0 <\/span><\/b>John Rublowsky, Pop Art<\/i>, New York: Basic Book, 1965.\u00a0 <\/span>Hardcover (yellow and other colors stamped on white cloth), 10 \u00be x 8 \u00bd inches, 212 pages, screen-gravure and color halftone illustrations, dustjacket.<\/p>\n

Perhaps the best early book on the subject, published while Pop Art was still current.\u00a0 <\/span>After an overview and chapter on sources, Rublowsky devotes sections to the five artists that, to this day, define the movement: Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Andy Warhol, and Tom Wesselmann.\u00a0 <\/span>He then closes with chapters on collectors and galleries and \u201cThe New Wave,\u201d covering younger practitioners such as Mel Ramos.\u00a0 <\/span>Greatly aiding the success of this book are the many images by photojournalist Ken Heyman, which show the artists working in their studios or pursuing other activities, such as Oldenburg sizing up typewriters and refrigerators in an appliance store.\u00a0 <\/span>Near fine condition, in dustjacket with a few scuffs and a tiny tear.\u00a0 <\/span>$100<\/p>\n

22.\u00a0 <\/span>PORTRAITURE.<\/b>\u00a0 <\/span>Donna Gustafson and Susan Sidlauskas, Striking Resemblance: The Changing Art of Portraiture<\/i>, Munich, Germany: Delmonico\/Prestel, 2004.\u00a0 <\/span>Hardcover (paper over boards), 11 \u00bc x 8 \u00bd inches, 176 pages, 120 halftone illustrations (some in color).<\/p>\n

A re-examination of one of the major subjects of art, through primarily photographs, paintings, and prints, both historical and modern.\u00a0 <\/span>The book, issued without a dustjacket, accompanied an exhibition at the Zimmerli Art Museum (Rutgers University, New Brunswick, New Jersey).\u00a0 <\/span>A few bumped corners.\u00a0 <\/span>$35<\/p>\n

23.\u00a0 <\/span>PRIMITIVISM.\u00a0 <\/span><\/b>William Rubin, editor, \u201cPrimitivism\u201d in 20th<\/sup> Century Art: Affinity of the Tribal and the Modern, Volume 1<\/i>, New York: Museum of Modern Art, 1984.\u00a0 <\/span>Hardcover (black-stamped gray cloth), 12 \u00bc x 9 \u00bc inches, 344 pages, halftone illustrations (some in color), dustjacket.<\/p>\n

Rubin and other experts essay the arrival of tribal objects in the West from North America, Oceania, and Africa.\u00a0 <\/span>Includes individual chapters on Gaugin, Picasso, and Matisse and the Fauves.\u00a0 <\/span>\u201cThe first comprehensive scholarly treatment of the subject in half a century and the first ever to illustrate and discuss tribal work collected by vanguard artists.\u201d\u00a0 <\/span>Near fine condition, in price-clipped dustjacket that is lightly rubbed and wrinkled.\u00a0 <\/span>$35<\/p>\n

24.\u00a0 <\/span>RAUSCHENBERG, Robert.\u00a0 <\/span><\/b>Robert Rauschenberg: Prints 1948\/ 1970<\/i>, Minneapolis Institute of Arts, 1970.\u00a0 <\/span>Softcover, 10 x 9 \u00bc inches, unpaginated 155 halftone illustrations.<\/p>\n

An early exhibition catalog on Rauschenberg\u2019s prints, most of them published by Universal Limited Art Edition (U.L.A.E.) and Gemini G.E.L.\u00a0 <\/span>Among the standouts are the unique monoprint \u201cAutomobile Tire Print\u201d (1951), \u201cAccident\u201d (1963), which shows a broken lithographic stone, and the mammoth \u201cCurrents\u201d (1970), which measured 6 x 60 feet (presented here in a gatefold).\u00a0 <\/span>Essay by museum curator Edward A. Foster.\u00a0 <\/span>Light rubbing to covers and miniscule edgewear.\u00a0 <\/span>$250<\/p>\n

25.\u00a0 <\/span>REALISM.\u00a0 <\/span><\/b>Frank H. Goodyear, Jr., Contemporary American Realism Since 1960<\/i>, Boston: New York Graphic Society, 1981.\u00a0 <\/span>Hardcover (white-stamped yellow cloth), 11 \u00bc x 9 \u00bc inches, 256 pages, 210 halftone illustrations (some in color), dustjacket.<\/p>\n

A thorough examination of realistic painting and sculpture in this country during the 1960s and seventies.\u00a0 <\/span>The author covers portraits, nudes, figure studies, landscapes (rural and urban), and still lifes.\u00a0 <\/span>Among the over 100 artists represented are Philip Pearlstein, Andrew Wyeth, Richard Estes, and Duane Hanson.\u00a0 <\/span>Near fine condition, in dustjacket that is lightly rubbed and sunned.\u00a0 <\/span>$25<\/p>\n

26.\u00a0 <\/span>RUSCHA, Edward.<\/b>\u00a0 <\/span>Margit Rowell, Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha<\/i>, New York: Whitney Museum of American Art, 2004.\u00a0 <\/span>Hardcover (white-stamped gray cloth), 11 \u00bc x 11 \u00bc inches, 260 pages, 251 illustrations (most in color).<\/p>\n

This is a comprehensive examination of Ruscha\u2019s drawings, dating from 1959 to 2002.\u00a0 <\/span>Most of them are highly illusionistic and include words, phrases, trademarks, or examples of vernacular architecture.\u00a0 <\/span>With the essay \u201cInformation Man\u201d by Cornelia Butler, the book (issued without a dustjacket) accompanied the first major museum exhibition on the subject.\u00a0 <\/span>Near fine condition, in opened shrink wrap.\u00a0 <\/span>$75<\/p>\n

27.\u00a0 <\/span>SIXTIES.<\/b>\u00a0 <\/span>Art of the Sixties: Kunst der Sechziger Jahre Sammlung Ludwig<\/i>, Cologne, Germany: Wallraf-Richartz Museum, 1970 (fourth edition).\u00a0 <\/span>Softcover (blind-stamped thick acetate, with hard plastic spine and screw posts), 11 \u00be x 9 \u00bd inches, unpaginated, halftone illustrations (some in color).<\/p>\n

This massive tome went through three editions in 1969 before this revised one.\u00a0 <\/span>It begins with essays by five individuals, including the collector Peter Ludwig, printed in German on a soft, spongy stock, and in English on Kraft paper.\u00a0 <\/span>The guts of the book, however, are devoted to the work of about 100 contemporary artists from around the world, with brief biographical information.\u00a0 <\/span>It is an elaborate presentation, with all of the reproductions tipped-in and printed overlays abounding.\u00a0 <\/span>Among the most recognized contributors are Andy Warhol, Jim Dine, George Segal, Robert Rauschenberg, Louise Nevelson, Sol Lewitt, Jasper Johns, Claes Oldenburg, and Dan Flavin.\u00a0 <\/span>Covers lightly rubbed, with erasure to corner of title page.\u00a0 <\/span>$375 \u00a0<\/span><\/p>\n

28.\u00a0 <\/span>SURREALISM.\u00a0 <\/span><\/b>Marcel Jean and Arpad Mezei, The History of Surrealist Painting<\/i>, New York: Grove Pres, 1960.\u00a0 <\/span>Hardcover (white-stamped black cloth with 3 affixed labels, 9 \u00bd x 8 \u00be inches, 384 pages, 386 halftone illustrations (some in color), dustjacket.<\/p>\n

The first authoritative and definitive book on one of modernism\u2019s most stormy movements, spanning the 1920s to 1950s.\u00a0 <\/span>It covers its struggles, its periodicals, it feuds and friendships, its ideas, and its political adventures.\u00a0 <\/span>Among those featured are Breton, De Chirico, Klee, Picabia, Duchamp, Ernst, Arp, Miro, Dali, Man Ray and Tanguy.\u00a0 <\/span>This first printing is distinguished by the die-cut flaps on the front of the dustjacket, which when opened give the book\u2019s title, author, and published.\u00a0 <\/span>Near fine condition, in price-clipped dustjacket with tiny edgewear.\u00a0 <\/span>$150<\/p>\n

29.\u00a0 <\/span>TALCOTT, Dudley Vaill.\u00a0 <\/span><\/b>Noravind<\/i>, Hartford: Edwin Valentine Mitchell, 1929.\u00a0 <\/span>Hardcover (black-stamped cream cloth), 10 \u00bc x 8 inches, unpaginated, line illustrations.\u00a0 <\/span>Signed, with ephemera.<\/p>\n

\u201cNoravind\u201d means \u201cNorth Wind\u201d in Norwegian.\u00a0 <\/span>The book comprises Talcott\u2019s written and visual memories of his steaming from New York to Norway and his numerous canoe trips along the west coast of the latter country.\u00a0 <\/span>His bold line drawings are stylized Art Deco in nature; the front endpapers depict his first citing of the coast of Norway and the rear one the interior of a mountain-top bar, complete with svelte flappers.\u00a0 <\/span>Talcott (1899-1986) was best known as a sculptor, and produced large bas reliefs for the General Foods building at the 1939 New York World\u2019s Fair.\u00a0 <\/span>Signed and numbered edition of 375 copies.\u00a0 <\/span>Laid into this copy is a 1997 signed letter from the artist\u2019s wife, Beverly.\u00a0 <\/span>Cloth lightly browned, with light wear to a few tips.\u00a0 <\/span>$150<\/p>\n

30.\u00a0 <\/span>WARHOL, Andy.\u00a0 <\/span><\/b>Twenty (20) Andy Warhol 37-cent postage stamps, United States Postal Service, 2001.\u00a0 <\/span>Sheet, 7 \u00bc x 10 inches, 21 color halftone illustrations.<\/p>\n

The full, unused sheet of stamps, with a quotation from him: \u201cIf you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am.\u00a0 <\/span>There\u2019s nothing behind it.\u201d\u00a0 <\/span>The face value is $7.40, but presumably you won\u2019t actually use these stamps.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$25<\/p>\n

31.\u00a0 <\/span>WARHOL, Andy.\u00a0 <\/span><\/b>Andy Warhol at Christie\u2019s<\/i>, New York: Christie\u2019s, November 12, 2012.\u00a0 <\/span>Folder, 15 \u00bc x 10 \u00bc x 1 inches, with 3 softcover auction catalogs, halftone illustrations (most in color).<\/p>\n

Photographs<\/i>, 126 pages, 107 lots, with essay \u201cAndy-As-Mom\u201d by Hilton Als.\u00a0 <\/span>Among the subjects Warhol turned his camera on were Muhammad Ali, Keith Haring, John Lennon, Georgia O\u2019Keeffe, and Elizabeth Taylor.<\/p>\n

Prints<\/i>, 146 pages, 121 lots, with essay \u201cThe Look of Being Looked At\u201d by Jeanette Winterson.\u00a0 <\/span>Includes portraits, figure studies, still lifes, and the electric chair.<\/p>\n

Paintings and Work on Paper<\/i>, 130 pages, 126 lots, with essay \u201cAndy Mirrorball\u201d by Jonathan Lethem.\u00a0 <\/span>Features early ink drawings of animals from the 1950s, silkscreen portraits of Lee Iacocca, Joseph Beuys, and others, and commercial imagery like maps, footwear, and pieces of meat.<\/p>\n

A substantial and weighty set, in the original shipping box.\u00a0 <\/span>Light wrinkles to folder.\u00a0 <\/span>$150<\/p>\n

ARCHITECTURE<\/b><\/p>\n

32.\u00a0 <\/span>ABBOTT, Berenice.\u00a0 <\/span><\/b>Warehouse, Water and Dock Street, Brooklyn<\/i>, 1936 (printed 1976).\u00a0 <\/span>Gelatin silver print, 10 \u00be x 13 \u00bd inches (image and sheet), 20 x 16 inches (mount).<\/p>\n

The main building in this picture presents an expansive fa\u00e7ade with many metal, arch-topped windows and doors.\u00a0 <\/span>Part of it features a painted sign for Yuban Coffee, but what undoubtedly drew Abbott\u2019s attention was the pattern created by the windows and doors alternately being open and closed.\u00a0 <\/span>For scale, she included a sole figure, seated and reading a newspaper, dwarfed by the size of the building.\u00a0 <\/span>This print was one of ten in a portfolio published by Witkin-Bereley in 1976.\u00a0 <\/span>Signed, in pencil, below the print, with Witkin-Bereley label on back of mount.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Fine condition. $3,500<\/p>\n

33.\u00a0 <\/span>ABBOTT, Berenice.\u00a0 <\/span><\/b>Henry W. Lanier, Greenwich Village: Today <\/i>& Yesterday<\/i>, New York: Harper, 1949.\u00a0 <\/span>Hardcover (green and yellow-stamped black cloth), 9 \u00bd x 6 \u00bc inches, 162 pages, 70 screen-gravure illustrations, dustjacket.<\/p>\n

The author\u2019s and Abbott\u2019s study of the quant, Bohemian neighborhood in lower Manhattan.\u00a0 <\/span>Features rich, brown-toned gravure images of the people, buildings, and atmosphere of the legendary Village, among them Zito\u2019s Bakery and artist Edward Hopper.\u00a0 <\/span>Tiny edgewear, in dustjacket that is chipped, worn and missing small pieces on spine. $250<\/p>\n

34.\u00a0 <\/span>AGAR, Will.\u00a0 <\/span><\/b>Sharrett\u2019s Liquor Store, St. Paul<\/i>, 2010 (printed 2016).\u00a0 <\/span>Gelatin silver print, 13 \u00bd x 10 \u00bd inches (image), 14 x 11 inches (sheet).<\/p>\n

Agar photographed the shop from outside its open door one night, at precisely 9:30 p.m.\u00a0 <\/span>The image highlights the store\u2019s lit interior and exterior clock and neon signs.\u00a0 <\/span>Adding to the drama of the image is that the subject is located on a triangular street corner, that of University Avenue and Raymond Boulevard in St. Paul.\u00a0 <\/span>The store is recognizable to many members of the Twin Cities photography community, as it was across the street from Film-in-the-Cities, the leading local non-profit exhibition space for photographers during the 1980s.\u00a0 <\/span>Will Agar (born 1950) has taught photography for most of his career at North Hennepin Community College (Brooklyn Park, Minnesota), has work in the permanent collection of the Minneapolis Institute of Arts, and is the son of Frank Agar, Jr., also a long-term photography professor.\u00a0 <\/span>Titled, dated, and signed, in pencil, verso.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$150<\/p>\n

35.\u00a0 <\/span>ATGET, Eugene.<\/b>\u00a0 <\/span>Paris<\/i>, 1890-1920.<\/p>\n

Thirty-one (31) original (8 x 10 inch contact) gelatin silver prints, showing streets and buildings (both exterior and interior) of the city.\u00a0 <\/span>Among the subjects are the Hotel de Beauvais, Palais Royal, Palais du Luxembourg, Institute de France, Ecole Massillon, and Place des Vosges.\u00a0 <\/span>These prints are from Atget\u2019s original negatives in the collection of the Caisse Nationale des Monuments Historiques et des Sites, Paris.\u00a0 <\/span>The institution acquired the negatives directly from Atget in about 1920 and subsequently printed from them for reference purposes.\u00a0 <\/span>Each print is mounted on a sheet of blue paper, the back of which features handwritten information about the subject of the picture; its name, address, arrondissement, and additional related information.\u00a0 <\/span>Atget\u2019s negative numbers are visible in most of the photographs.\u00a0 <\/span>They predate Berenice Abbott\u2019s prints from the photographer\u2019s negatives by many years.\u00a0 <\/span>Think of these as \u201cpoor-man\u2019s Atgets.\u201d\u00a0 <\/span>Images sent upon request.\u00a0 <\/span>$250 each.<\/p>\n

36.\u00a0 <\/span>ATGET, Eugene.\u00a0 <\/span><\/b>John Szarkowski and Maria Morris Hambourg, The Work of Atget<\/i>, New York: Museum of Modern Art, 1981-1985.<\/p>\n

Volume I: Old France<\/i>, 1981.\u00a0 <\/span>Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 180 pages, 120 halftone illustrations, dustjacket.<\/p>\n

Volume II: The Art of Old Paris<\/i>, 1982.\u00a0 <\/span>Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 192 pages, 192 halftone illustrations, dustjacket.<\/p>\n

Volume III: The Ancien R\u00e9gime<\/i>, 1983.\u00a0 <\/span>Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 188 pages, 119 halftone illustrations, dustjacket.<\/p>\n

Volume IV: Modern Times<\/i>, 1985.\u00a0 <\/span>Hardcover (gold-stamped maroon cloth), 12 x 10 \u00bd inches, 188 pages, 116 halftone illustrations, dustjacket.<\/p>\n

The four-volume set that constitutes the most comprehensive study of the great Parisian photographer, based on MOMA\u2019s in-depth holdings.\u00a0 <\/span>Includes intelligent essays by Hambourg and Szarkowski and extensive notes to the plates.\u00a0 <\/span>Volume III features a fold-out chart with Atget\u2019s negative numbers and the dates and places of his pictures, made possible by the curators cracking his esoteric numbering code.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>The set of four: $500<\/p>\n

37.\u00a0 <\/span>ATGET, Eugene.\u00a0 <\/span><\/b>Andrew Szegedy-Maszak, Atget\u2019s Churches<\/i>, Middletown, Connecticut: Davison Art Center, Wesleyan University, 1992.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, 64 pages, 50 halftone illustrations.<\/p>\n

Catalog for an exhibition of the complete contents of a handmade album by Atget, titled Int\u00e9rieurs d\u2019Eglises<\/i>.\u00a0 <\/span>Among the subjects are St. Sulpice, St. Germain-des-Pr\u00e8s, and Notre Dame.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$25<\/p>\n

38.\u00a0 <\/span>BALTZ, Lewis.\u00a0 <\/span><\/b>The New Industrial Parks Near Irvine, California (Das Neue Industriegel\u00e4nde in der N\u00e4he von Irvine, Kalifornien)<\/i>, New York: Leo Castelli\/Castelli Graphics, 1974.\u00a0 <\/span>Hardcover (black-stamped gray cloth), 10 \u00be x 11 \u00be inches, 108 pages, 51 halftone illustrations, dustjacket.<\/p>\n

Baltz\u2019s first and most iconic book, appearing a year before his work was included in the defining Eastman House show and catalog The New Topographics<\/i>.\u00a0 <\/span>Other than captions and basic publishing info, the book is devoid of text, reflecting the stark nature of the photographs.\u00a0 <\/span>Baltz photographed new suburban architecture that didn\u2019t reveal it purpose and that is usually seen frontally, creating people-less, formalist images of black-and-white rectangles. \u00a0 <\/span>Included in Andrew Roth\u2019s The Book of 101 Books<\/i>.\u00a0 <\/span>Tiny scuffs to bottom edge, spotting to top edge of pages, in dustjacket with mild rubbing, wrinkles, and one short tear.\u00a0 <\/span>$1,000<\/p>\n

39.\u00a0 <\/span>BONNEY, Th\u00e9r\u00e8se.<\/b>\u00a0 <\/span>The Vatican<\/i>, Boston: Houghton Mifflin Co., 1939.\u00a0 <\/span>Hardcover (black-stamped red cloth), 10 \u00bc x 7 \u00bc inches, 132 pages, screen-gravure illustrations, dustjacket.<\/p>\n

Comprises Bonney\u2019s visual and written examination of the architecture and inhabitants of the capital of the Roman Catholic Church.\u00a0 <\/span>Among her subjects are Pius XI (the \u201cPope of Peace\u201d), St. Peter\u2019s, the Apostolic Palace, Vatican City, the Vatican Library, and the Castel Gandolfo (the Pope\u2019s summer residence).\u00a0 <\/span>Th\u00e9r\u00e8se Bonney (1894-1978), a devoted war photographer and correspondent, was the first American allowed to make a photographic record of this subject.\u00a0 <\/span>Near fine condition, in price-clipped dustjacket with light edgewear.\u00a0 <\/span>$35<\/p>\n

40.\u00a0 <\/span>BRASSAI.<\/b>\u00a0 <\/span>John Russell, Paris<\/i>, London: B. T. Batsford, 1960.\u00a0 <\/span>Hardcover (gold-stamped green cloth), 9 x 6 inches, 264 pages, 42 halftone illustrations, dustjacket.<\/p>\n

\u201cIn this book, Paris appears as the quintessence of a civilization, both in the earlier centuries of the city\u2019s glory and as that civilization has survived and still flourishes today.\u201d\u00a0 <\/span>Near fine condition, in dustjacket with light edgewear and a few tears.\u00a0 <\/span>$50<\/p>\n

41.\u00a0 <\/span>BURDEKIN, Harold.\u00a0 <\/span><\/b>John Morrison, London Night<\/i>, London: Collins, 1934.\u00a0 <\/span>Hardcover (silver-stamped blue cloth), 12 \u00bd x 10 inches, unpaginated, screen-gravure illustrations, dustjacket.<\/p>\n

This large-scale picture book features very well-composed and richly rendered images (in blue gravure) of the city after dark.\u00a0 <\/span>Not a single human form is to be found in them.\u00a0 <\/span>The endpapers of this gorgeous book present a dramatic night sky.\u00a0 <\/span>Morrison actually assisted Burdekin in making the photographs and the two were so confident of the artistic value of their pictures that, according to a laid-in slip, they offered signed original photographic prints of the pictures in the book.\u00a0 <\/span>Previous owner\u2019s name and bookplate, one corner bumped, in a dustjacket with minor wear along the top.\u00a0 <\/span>$125\u00a0 \u00a0<\/span><\/p>\n

42.\u00a0 <\/span>BURNS, Michael.\u00a0 <\/span><\/b>Lighthouse Wall<\/i>, 1976.\u00a0 <\/span>Gelatin silver print, 7 \u00be x 9 \u00be inches (image), 8 x 10 inches (sheet), signed.<\/p>\n

This original photograph comprises one of Burns\u2019 most recognized images, showing a fa\u00e7ade with windows, downspouts, and a door in shadow in the lower right corner.\u00a0 <\/span>Married to fellow photographer Marsha Burns, Michael Burns (born 1942) is based in Seattle and best known for the body of architectural images to which this one belongs.\u00a0 <\/span>Photographer\u2019s stamp and signature, with inscription \u201cfor reproduction,\u201d verso.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,000<\/p>\n

43.\u00a0 <\/span>BURNS, Michael.\u00a0 <\/span><\/b>Rest Rooms<\/i>, 1976.\u00a0 <\/span>Gelatin silver print, 7 \u00be x 9 \u00be inches (image), 8 x 10 inches (sheet), signed.<\/p>\n

Another building exterior, lit with raking light and faced frontally, a la<\/i> Walker Evans.\u00a0 <\/span>This one features stucco surfaces and the door to a women\u2019s bathroom, probably at a gas station.\u00a0 <\/span>Signature and inscription \u201cPublicity Photograph,\u201d verso.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>A few faint creases.\u00a0 <\/span>$1,000<\/p>\n

44.\u00a0 <\/span>BURNS, Michael.\u00a0 <\/span><\/b>Lamont Bank of St. John<\/i>, 1978.\u00a0 <\/span>Gelatin silver print, 7 \u00be x 9 \u00be inches (image), 8 x 10 inches (sheet).<\/p>\n

This original photograph pictures a small brick building, probably on the Main Street of St. John, Washington, a small town located a few hundred miles east of Seattle.\u00a0 <\/span>With strong raking light, Burns emphasizes the three-dimensionality of the fa\u00e7ade\u2019s bricks, all starkly painted white.\u00a0 <\/span>The bank\u2019s front door and windows are rendered as one rectangular black shape.\u00a0 <\/span>Photographer\u2019s wet stamp, verso.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$1,000 \u00a0<\/b><\/span><\/p>\n

45.\u00a0 <\/span>CHICAGO.<\/b>\u00a0 <\/span>Grand Crossing, Illinois<\/i>, 1887.\u00a0 <\/span>Albumen print, 9 x 7 inches (image and sheet), 13 \u00bc x 11 inches (mount).<\/p>\n

Pictures a modest Victorian wooden house, probably shortly after it was built.\u00a0 <\/span>Two women and a baby carriage pose out front, noticeably without any men.\u00a0 <\/span>According to the inscription on the back of the mount, this photograph was presented to Georgia A. Wood (probably one of the women pictured) by her brother.\u00a0 <\/span>Grand Crossing, a community on Chicago\u2019s south side which was named for the intersection of two railroad lines, was annexed by the city just two years after this image was made.\u00a0 <\/span>The mount features an elaborate printed design that frames the photograph.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Short tear, light rubbing, and a few spots to print, on browned mount.\u00a0 <\/span>$50<\/p>\n

46.\u00a0 <\/span>CHURCHES.\u00a0 <\/span><\/b>Joseph Pichard, Modern Church Architecture<\/i>, New York: Orion Press, 1960.\u00a0 <\/span>Hardcover (white-stamped orange cloth), 10 \u00bd x 9 inches, 184 pages, 177 screen-gravure illustrations, dustjacket.<\/p>\n

Originally published in France, this title addresses the vitality of church design in many countries; the United States, Brazil, Egypt, Italy, and elsewhere.\u00a0 <\/span>The author gives a brief history of the subject but concentrates on structures in the first half of the twentieth century, and shows how the work of great visual artists, like Matisse, Klee, and Chagall, increases the beauty and spirituality of churches.\u00a0 <\/span>Architects whose work is covered include Alvar Aalto, Le Corbusier, Oscar Niemeyer, and Frank Lloyd Wright.\u00a0 <\/span>Near fine condition, in price-clipped dustjacket, with tiny wear and a little writing on the back.\u00a0 <\/span>$50<\/p>\n

47.\u00a0 <\/span>CZECHOSLOVAKIA.\u00a0 <\/span><\/b>Castles in Czechoslovakia<\/i>, Prague: Artia, 1962.\u00a0 <\/span>Hardcover (gold-stamped blue cloth), 11 x 9 \u00bd inches, 154 pages, screen-gravure illustrations (some in color), dustjacket.<\/p>\n

The book covers castles dating from the Middle Ages to 19th-century romanticism, in nearly 100 locations.\u00a0 <\/span>Chosen by Josef Ehm, the photographs are by him, Alexej Kusak, Karel Plicka, and Josef Sudek.\u00a0 <\/span>Cloth shows some sunning along the edges and a small stain, in dustjacket that is chipped and missing small pieces.\u00a0 <\/span>$35<\/p>\n

48.\u00a0 <\/span>EVANS, Frederick H. <\/b>(school of).\u00a0 <\/span>Unknown photographer, Steps, Wells Cathedral, England<\/i>, c. 1900.\u00a0 <\/span>Platinum print, 7 x 6 inches (image and sheet), 11 x 8 \u00bd inches (mount).<\/p>\n

A vintage platinum print related to Evans\u2019 most recognizable image.\u00a0 <\/span>The unknown photographer placed his camera close to where Evans had, but slightly to the right, up a few steps, and angled a little to the left.\u00a0 <\/span>Still, a striking and well-lit interpretation of the undulating staircase and other architectural elements.\u00a0 <\/span>Think of it as a \u201cpoor-man\u2019s Frederick Evans.\u201d\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Near fine condition, on a new mount that replicates Evans\u2019 use of textured papers and hand-drawn borders.\u00a0\u00a0<\/span>$2,500<\/p>\n

49.\u00a0 <\/span>EVANS, Frederick H.\u00a0 <\/span><\/b>Beaumont Newhall, Frederick H. Evans<\/i>, Rochester: George Eastman House, 1964.\u00a0 <\/span>Softcover, 10 \u00be x 8 inches, 48 pages, 19 halftone illustrations.<\/p>\n

The first little monograph devoted to Evans has Newhall discussing Evans as a bookseller and artistic photographer, covering his trans-Atlantic relationship with Alfred Stieglitz, his involvement with the Royal Photographic Society and Linked Ring Brotherhood, and his glorious pictures of cathedral interiors.\u00a0 <\/span>Commences with his most famous image, A Sea of Steps<\/i>, from Wells Cathedral in 1903.\u00a0 <\/span>Near fine condition, with previous owner\u2019s address label.\u00a0 <\/span>$35<\/p>\n

50.\u00a0 <\/span>EVANS, Frederick H.\u00a0 <\/span><\/b>Beaumont Newhall, Frederick H. Evans, Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France<\/i>, Millerton, New York: Aperture, 1973.\u00a0 <\/span>Hardcover (gray-stamped gray cloth), 10 \u00be x 9 \u00be inches, unpaginated, 75 halftone illustrations, dustjacket.<\/p>\n

This hardcover includes Newhall\u2019s text from the above title (apparently unaltered), with an expanded set of images by Evans.\u00a0 <\/span>For instance, there are more landscapes and portraits, of the likes of Evans\u2019 friend Aubrey Beardsley.\u00a0 <\/span>Near fine condition, in price-clipped dustjacket with a tear.\u00a0 <\/span>$50<\/p>\n

51.\u00a0 <\/span>EVANS, Walker.\u00a0 <\/span><\/b>U.S. Post Office, Sprott, Alabama<\/i>, 1936.\u00a0 <\/span>Gelatin silver print, 7 \u00bd x 9 \u00bd inches (image), 8 x 10 inches (sheet).<\/p>\n

One of Evans\u2019 best-known images, due to its being used on the cover of the 1971 monograph by John Szarkowski (Museum of Modern Art, New York).\u00a0 <\/span>This desolate and weathered example of vernacular architecture was among the hundreds that Evans turned his camera on in the American South while working for the Farm Security Administration during the Great Depression.\u00a0 <\/span>This print was made from Evans\u2019 original negative (held by the Library of Congress) in 1976, a year after the photographer\u2019s death.\u00a0 <\/span>It was ordered by the Museum of Modern Art, Oxford (England) to publicize a 1976 Evans exhibition that the museum had been working on with the photographer before he died.\u00a0 <\/span>Library of Congress wet stamp, verso.\u00a0 <\/span>Modest retouching to image and small crimp to print.\u00a0 <\/span>$2,500<\/p>\n

52.\u00a0 <\/span>FORD, Katherine Morrow, and Thomas H. Creighton.\u00a0 <\/span><\/b>Quality Budget Houses: A Treasury of 100 Architect-Designed Houses from $5,000 to $20,000<\/i>, New York: Reinhold, 1954.\u00a0 <\/span>Hardcover (gold-stamped black cloth and paper over boards), 10 \u00bd x 8 \u00bc inches, 224 pages, halftone illustrations, dustjacket.<\/p>\n

Ford and Creighton, leading architectural editors at the time, cover all aspects of securing a well-designed house at a reasonable cost.\u00a0 <\/span>They write on land purchasing, the use of space, materials, equipment, builder houses, cooperative building, constructing one\u2019s own house, and how to deal with both architects and builders.\u00a0 <\/span>Among the over 75 architects who contributed was Richard J. Neutra, with three houses in southern California.\u00a0 <\/span>Covers lightly browned, in price-clipped dustjacket that has minor chips and wear.\u00a0 <\/span>$35<\/p>\n

53.\u00a0 <\/span>FRIEDLANDER, Lee.\u00a0 <\/span><\/b>Sticks & Stones: Architectural America<\/i>, San Francisco: Fraenkel Gallery, and Distributed Art Publishers, New York, 2004.\u00a0 <\/span>Hardcover (black-stamped orange cloth), 12 \u00be x 12 inches, unpaginated, 196 duotone illustrations, dustjacket.<\/p>\n

Friedlander\u2019s oversize ode to buildings, both vernacular and monumental, all in square format and sometimes shot from the driver\u2019s seat of an automobile (with a car window providing the frame).\u00a0 <\/span>\u201cThese pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches.\u00a0 <\/span>Nevertheless, man\u2019s presence is not at stake here; streets, roads, facades, and buildings offer their own visual intrigue, without reference to their makers.\u201d\u00a0 <\/span>Near fine condition.\u00a0\u00a0<\/span>$125<\/p>\n

54.\u00a0 <\/span>FRITH, Francis.<\/b>\u00a0 <\/span>Denon Pavilion, Louvre, Paris<\/i>, c. 1880.\u00a0 <\/span>Albumen print, 6 \u00bc x 8 \u00bc inches (image and sheet), 14 x 17 \u00be inches (mount).<\/p>\n

Frith framed this southern wing of the museum centrally and frontally, although the large expanse of trees on the right provides the image a sense of asymmetry.\u00a0 <\/span>The Pavilion Denon was added to older parts of the museum in 1852-1857, by architects Louis Visconti and Hector Lefuel.\u00a0 <\/span>The Neo-Baroque structure features two stories of columns, caryatids, a pointed pediment, smoke stacks, and a mansard roof.\u00a0 <\/span>\u201cFrith\u2019s Series\u201d blind stamped in the print.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Faint rubbing to print surface.\u00a0 <\/span>$250<\/p>\n

55.\u00a0 <\/span>GARRETTSVILLE, Ohio.<\/b>\u00a0 <\/span>Abram R. Gates, Nelson Steele\u2019s House<\/i>, c. 1880.\u00a0 <\/span>Albumen print, 7 \u00bd x 9 \u00bd inches (image and sheet), 8 x 10 inches (mount).<\/p>\n

This image shows a two-story, Victorian house with distinctive crossing arches under its gables, with additional gingerbread at the apexes of its roofs.\u00a0 <\/span>Next to it is a substantial stable, with a horse and buggy standing out front and a running-horse weather vane.\u00a0 <\/span>Nelson Steele (1823-1908), the owner of the house, ran a sawmill in Garrettsville (a village about fifty miles southeast of Cleveland), which probably supplied the lumber for these two clapboard structures.\u00a0 <\/span>Six figures, in formal wear, are posed on the front porch, presumable Mr. Steele and family members.\u00a0 <\/span>According to the printed credit on the back of the mount, the photographer, Abram R. Gates (1864-?) exercised \u201cSuperiority in Portraiture.\u201d\u00a0 <\/span>Nonetheless, this is a handsome architectural portrait, with a white picket fence running across the entire bottom of the image.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Minor rubbing and a few small spots on print surface.\u00a0 <\/span>$100<\/p>\n

56.\u00a0 <\/span>GERNSHEIM, Helmut.\u00a0 <\/span><\/b>Beautiful London<\/i>, London: Phaidon, 1950.\u00a0 <\/span>Hardcover (yellow-stamped blue cloth), 12 x 8 \u00be inches, 124 pages, 103 screen-gravure illustrations, dustjacket.<\/p>\n

Gernsheim\u2019s straightforward images, rendered in rich gravure, of primarily the architecture of \u201cthe world\u2019s greatest city.\u201d\u00a0 <\/span>Features subjects such as St. Paul\u2019s Cathedral, Trafalgar Square, Buckingham Palace, Ten Downing Street, Big Ben, the Houses of Parliament, and Westminster Abbey.\u00a0 <\/span>With a foreword by James Pope-Hennessy.\u00a0 <\/span>Very good condition, in dustjacket with minor edgewear.\u00a0 <\/span>$35<\/p>\n

57.\u00a0 <\/span>HAMMOND, Rita.\u00a0 <\/span><\/b>Mansions in Fog<\/i>, c. 1978.\u00a0 <\/span>Gelatin silver print, 12 \u00bc x 12 \u00bc inches (image), 16 \u00bc x 14 \u00bd inches (sheet).<\/p>\n

This dreamy image presented three substantial residences shrouded in hazy weather conditions.\u00a0 <\/span>The three-story clapboard buildings were undoubtedly in some wealthy part of New England.\u00a0 <\/span>They march across the center of the image and are anchored by a wide expanse of grass.\u00a0 <\/span>Rita Hammond (1924-1999) was an energetic figure, teaching photography for much of her adult life at Cazenovia College, located in upstate New York near Syracuse.\u00a0 <\/span>Signed in pencil, below the image.\u00a0 <\/span>Paper is slightly wavy.\u00a0\u00a0<\/span>$250<\/p>\n

58.\u00a0 <\/span>HARTWIG, Edward.\u00a0 <\/span><\/b>Moja Ziemia<\/i>, Warsaw: Sport Turystyka, 1962.\u00a0 <\/span>Hardcover (green-stamped yellow cloth), 10 \u00be x 8 \u00bc inches, 176 pages, 150 screen-gravure illustrations, dustjacket.<\/p>\n

Comprised solely of rural and landscape images that Hartwig made in Poland\u2014the title translates to \u201cMy Native Land.\u201d\u00a0 <\/span>The rich gravures picture trees, woods, fields, farming, wild life, and small villages, in many seasons.\u00a0 <\/span>This is the most artistic of Hartwig\u2019s books here, with the images often bleeding off the pages and not identified to specific locales.\u00a0 <\/span>Includes an introduction by the photographer and an essay on all four seasons by Julia Hartwig, presumably his wife.\u00a0 <\/span>While the main text is in Polish, there are summaries in Russian, German, French, and English, in a booklet that is laid in.\u00a0 <\/span>Two corners bumped, in dustjacket that is torn, chipped, and wrinkled.\u00a0 <\/span>$35<\/p>\n

59.\u00a0 <\/span>HARTWIG, Edward.\u00a0 <\/span><\/b>Cracow<\/i>, Warsaw: Sport Turystyka, 1966.\u00a0 <\/span>Hardcover (blind and turquoise-stamped cream cloth), 9 \u00be x 8 \u00bc inches, 200 pages, 187 screen-gravure illustrations (some in color), dustjacket.<\/p>\n

Hartwig\u2019s extensive visual record of Poland\u2019s primary urban setting.\u00a0 <\/span>He shows its daily life, parks, and architecture\u2014old and new, interior and exterior.\u00a0 <\/span>Preface by Jerzy Broszkiewicz, in English.\u00a0 <\/span>Includes extended captions, also in English.\u00a0 <\/span>Two bumped corners to cloth, in dustjacket that is edgeworn and missing a piece.\u00a0 <\/span>$35<\/p>\n

60.\u00a0 <\/span>HERNANDEZ, Anthony.\u00a0 <\/span><\/b>Pictures for Rome<\/i>, Santa Monica, California: Smart Art Press, 2000.\u00a0 <\/span>Hardcover (black-stamped rust cloth), 10\u00bc x 10\u00bc inches, 90 pages, color halftone illustrations, dustjacket.\u00a0 <\/span>Inscribed, with ephemera.<\/p>\n

Comprises a series of square-format images that Hernandez made in Rome, Italy, during 1998 and 1999.\u00a0 <\/span>\u201cThese elegantly disturbing color photographs examine what could be considered a series of unofficial urban monuments composed from the destressed architectural elements and detritus found inside abandoned buildings.\u201d\u00a0 <\/span>Essay by Ralph Rugoff, with and an extensive bibliography.\u00a0 <\/span>Hernandez was born in 1947 in Los Angeles, where he still lives and works.\u00a0 <\/span>Laid in is an announcement for a show of the same title and another exhibition notice.\u00a0 <\/span>This copy inscribed to curator Fred R. Parker.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$50<\/p>\n

61.\u00a0 <\/span>HOGAN, John R.\u00a0 <\/span><\/b>In Old Saint George\u2019s, Bermuda<\/i>, c. 1940.\u00a0 <\/span>Gelatin silver print, 18 \u00bc x 14 \u00bc inches (image and sheet), 20 x 16 inches (mount).<\/p>\n

An impressively large exhibition print that shows the corner of a building, nicely illuminated against a clear sky.\u00a0 <\/span>The entire structure, its walls, roof, and chimney, all seem to be made of hand-worked concrete.\u00a0 <\/span>Like many salon prints of the period, this one has numerous exhibition labels on the back of the mount, from Italy, Switzerland, and other European countries.\u00a0 <\/span>This image was reproduced in the February 1941 issue of Camera<\/i>.\u00a0 <\/span>Signed and titled on the mount.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>A few minor abrasions to print surface.\u00a0 <\/span>$2,500<\/p>\n

62.\u00a0 <\/span>JAPAN.<\/b>\u00a0 <\/span>Iwao Yamawaki, Kunihiko Yamakosi, Masaru Katsumi, and Torao Saito, editors, Japanese Houses Today<\/i>, Tokyo: Asahi Shimbun, 1958.\u00a0 <\/span>Hardcover (brown-stamped brown cloth), 11 \u00bc x 8 \u00bd inches, 272 pages, 311 halftone illustrations (some in color), dustjacket.<\/p>\n

Published about a decade after the end of World War II, during which many Japanese houses were destroyed, this book shows the modernization of and international influence on new home construction in the country.\u00a0 <\/span>Heavily illustrated, its three chapters cover \u201cThe Surroundings of the House,\u201d \u201cThe Function of the House,\u201d and \u201cThe Structure and Furnishings of the House.\u201d\u00a0 <\/span>The text is bilingual, in English and Japanese, and the books ends with illuminating advertisements for about 75 builders and suppliers.\u00a0 <\/span>Near fine condition, in price-clipped dustjacket with minor wear.\u00a0 <\/span>$50<\/p>\n

63.\u00a0 <\/span>KOCH, Carl, and Andy Lewis.\u00a0 <\/span><\/b>At Home With Tomorrow<\/i>, New York: Rinehart & Company, 1958.\u00a0 <\/span>Hardcover (white and blind-stamped black cloth), 7 \u00be x 10 \u00bc inches, 208 pages, halftone illustrations, dustjacket.<\/p>\n

Progressive architect Carl Koch (1912-1998) \u201cdescribes his personal quest for the good, the beautiful, and the inexpensive in housing today.\u00a0 <\/span>He defines what a man wants and needs in his house and tells a woman how her desire for a beautiful home can be combined with her practical requirements.\u201d\u00a0 <\/span>Focuses on the new mid-century modern, prefabricated house, with chapters on such manufacturers as Acorn, Lustron, Conantum, and Techbuilt.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>The endpapers cleverly mimic an architect\u2019s blueprints and the jacket was designed by Gyorgy Kepes.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$250<\/p>\n

64.\u00a0 <\/span>LIEBLING, Jerome.\u00a0 <\/span><\/b>A Century of Minnesota Architecture<\/i>, Minneapolis Institute of Arts, 1958.\u00a0 <\/span>Softcover, 10 x 8 inches, 64 pages, halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

Catalog for a traveling exhibition, with text by Donald R. Torbert, University of Minnesota professor.\u00a0 <\/span>While there are some historical photographs, the vast majority are by Liebling, who is credited on the title page.\u00a0 <\/span>Among the architects represented by domestic and commercial buildings are Marcel Breuer, Cass Gilbert, Philip Johnson, Louis Sullivan, and Frank Lloyd Wright.\u00a0 <\/span>Printed in an edition of 1,000 copies.\u00a0 <\/span>This copy signed by Liebling.\u00a0 <\/span>Fine condition. $25<\/p>\n

65.\u00a0 <\/span>LIST, Herbert.\u00a0 <\/span><\/b>Rome<\/i>, New York: Hill and Wang, 1950.\u00a0 <\/span>Hardcover (white-printed black cloth and paper over boards), 11 \u00bc x 9 inches, unpaginated, 84 screen-gravure illustrations (some in color), slipcase.<\/p>\n

A decent travel book on the Italian capital, with captions by Hans Mollier and a foreword by Derek Verschoyle.\u00a0 <\/span>The photographer focuses on famous monuments and street life, presenting a well-balanced visual essay.\u00a0 <\/span>Herbert List (1903-1975) was known largely as a modernist photographer, but also produced much everyday work for magazines and books, such as this one.\u00a0 <\/span>Near fine condition, in printed cardboard slipcase with a few stains.\u00a0 <\/span>$25<\/p>\n

66.\u00a0 <\/span>MINNESOTA.\u00a0 <\/span><\/b>David Gebhard and Tom Martinson, A Guide to the Architecture of Minnesota<\/i>, Minneapolis: University of Minnesota Press, 1977.\u00a0 <\/span>Softcover, 8 \u00bd x 6 inches, 472 pages, halftone illustrations.<\/p>\n

Still the most comprehensive guide to the subject, this copy is from the third, corrected, printing.\u00a0 <\/span>After an introductory history of architecture in Minnesota, the authors divide the state into eight geographical sections and then cover hundreds of buildings, city by city.\u00a0 <\/span>Among the highlights are about a dozen structures by Purcell and Elmslie, the state\u2019s leading Prairie School architects, and Louis Sullivan\u2019s National Farmer\u2019s Bank in Owatonna, a jewel box of organic design and probably Minnesota\u2019s most important building.\u00a0 <\/span>For Minnesotans, the perfect item to keep in one\u2019s car, for quick reference on road trips.\u00a0 <\/span>Light wear to covers.\u00a0 <\/span>$25<\/p>\n

67.\u00a0 <\/span>MORRIS, Wright.\u00a0 <\/span><\/b>The Inhabitants<\/i>, New York: Charles Scribner\u2019s Sons, 1946.\u00a0 <\/span>Hardcover (black and blind-stamped tan cloth), 11 \u00bc x 9 \u00bc inches, unpaginated, 51 halftone illustrations, dustjacket.<\/p>\n

Despite the title, not a single person appears in any of the photographs.\u00a0 <\/span>Instead, Morris turns his camera on examples of rural and small-town vernacular architecture, often framed frontally, like Walker Evans.\u00a0 <\/span>Morris\u2019s text, on the other hand, addresses the imagined inhabitants of the structures, talking about their activities and personalities.\u00a0 <\/span>Very good condition, in price-clipped dustjacket that is worn, torn, and missing pieces.\u00a0 <\/span>$75<\/p>\n

68.\u00a0 <\/span>MORRIS, Wright.\u00a0 <\/span><\/b>The Home Place<\/i>, New York: Charles Scribner\u2019s Sons, 1948.\u00a0 <\/span>Hardcover (silver-stamped brown cloth), 8 \u00bd x 5 \u00be inches, 180 pages, halftone illustrations, dustjacket.<\/p>\n

Morris provides both the text and photographs about a Nebraska farm and nearby buildings.\u00a0 <\/span>So unusual was this approach that the publisher proclaimed on the front cover, \u201cThis remarkable book constitutes a new fiction form<\/i> in which the art of writing and the camera\u2019s eye tell a single story with an extraordinary power of expression\u2014an exciting new artistic method.\u201d\u00a0 <\/span>Light shelf wear, in dustjacket with wear, tears, and small pieces missing.\u00a0 <\/span>$175<\/p>\n

69.\u00a0 <\/span>MORRIS, Wright.\u00a0 <\/span><\/b>God\u2019s Country and My People<\/i>, New York: Harper & Row, 1968.\u00a0 <\/span>Hardcover (gold-stamped brown cloth), 11 \u00be x 9 \u00bd inches, screen-gravure illustrations, unpaginated, dustjacket.<\/p>\n

Another nostalgic look by Morris at rural life, through its vernacular architecture, seen both inside and out.\u00a0 <\/span>Images are paired with his fictional text about individuals and their everyday activities, though few people appear in the photographs.\u00a0 <\/span>Near fine condition, with previous owner\u2019s inscription, in dustjacket that has tiny chips and tears.\u00a0 <\/span>$50<\/p>\n

70.\u00a0 <\/span>MORRIS, Wright.\u00a0 <\/span><\/b>Photographs & Words<\/i>, Carmel, California: Friends of Photography, 1982.\u00a0 <\/span>Hardcover (black-stamped white cloth), 12 x 9 \u00be inches, 120 pages, 64 duotone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

With an introduction by Friends\u2019 director James Alinder, this volume does not feature fiction by Morris, but, rather, a biographical essay by him that discusses the making of his previous books, in which he combined photographs and words.\u00a0 <\/span>This copy is signed by Morris.\u00a0 <\/span>Minor bump at bottom of spine, dustjacket with tiny wear.\u00a0 <\/span>$125<\/p>\n

71.\u00a0 <\/span>MUSEUMS.\u00a0 <\/span><\/b>Architecture of Museums<\/i>, New York: Museum of Modern Art, 1968.\u00a0 <\/span>Softcover, 8 \u00bd x 8 \u00bc inches, 20 pages, halftone illustrations, folder.<\/p>\n

An exhibition catalog, with text by Ludwig Glaeser.\u00a0 <\/span>Among the architects covered are Mies van der Rohe, Frank Lloyd Wright, Le Corbusier, and I. M. Pei.\u00a0 <\/span>A few scuffs to fragile black covers.\u00a0 <\/span>$25<\/p>\n

72.\u00a0 <\/span>MUYBRIDGE, Eadweard, and Mark Klett.\u00a0 <\/span><\/b>One City\/Two Visions: Eadweard Muybridge & Mark Klett: San Francisco Panoramas, 1878 and 1990<\/i>, San Francisco: Bedford Arts, 1990.\u00a0 <\/span>Hardcover (printed paper over boards), 12 \u00bc x 9 \u00be inches, unpaginated, 4 halftone illustrations.<\/p>\n

Features quality reproductions of Muybridge\u2019s spectacular 1878 panorama of San Francisco, along with Mark Klett\u2019s version of the same subject, made over a century later.\u00a0 <\/span>The two images are presented back-to-back, accordion style, and stretch to almost ten feet each.\u00a0 <\/span>Accompanying text by Klett and professor Peter Bacon Hales, and short biographies of each photographer.\u00a0 <\/span>Mint condition, in original, unopened shipping box.\u00a0 <\/span>$50<\/p>\n

73.\u00a0 <\/span>ORTIZ-ECHAGUE, Jos\u00e9.<\/b>\u00a0 <\/span>Espa\u00f1a: Pueblos y Paisajes<\/i>, Madrid: Publicaciones Ortiz-Echag\u00fce, 1947 (third edition).\u00a0 <\/span>Hardcover (gold-stamped maroon cloth), 12 \u00bc x 9 \u00bd inches, 312 pages, 312 screen-gravure illustrations, dustjacket.\u00a0<\/span><\/p>\n

First published in 1938, Ortiz-Echag\u00fce\u2019s second book pictures the cities and landscape of Spain.\u00a0 <\/span>Architecture dominates, from both large and small locales: private houses, churches, bridges, castles, and museums.\u00a0 <\/span>Prologues by Azorin and Jos\u00e9 M. Salaverria, with notes on the plates by the photographer.\u00a0 <\/span>Near fine condition, with previous owner\u2019s bookplate and browned dustjacket with a few chips.\u00a0 <\/span>$75<\/p>\n

74.\u00a0 <\/span>ORTIZ-ECHAGUE, Jos\u00e9.<\/b>\u00a0 <\/span>Espa\u00f1a: Castillos y Alc\u00e1zares<\/i>, Madrid: Publicaciones Ortiz-Echag\u00fce, 1960 (third edition).\u00a0 <\/span>Hardcover (gold-stamped red cloth), 12 \u00bd x 10 \u00be inches, 384 pages, 396 screen-gravure and 16 color halftone illustrations.<\/p>\n

Tomo 4, the final volume in the set, initially issued in 1956.\u00a0 <\/span>In this one Ortiz-Echag\u00fce presents a vast selection of the castles and fortresses of Spain, in locations from Alava to Zaragoza.\u00a0 <\/span>He frequently captures them from below, producing dramatic compositions with billowing cloud formations.\u00a0 <\/span>All the color images are full bleeds, resulting in oversize reproductions.\u00a0 <\/span>Text by the photographer and Fray Justo P\u00e9rez de Urbel.\u00a0 <\/span>Lacking the dustjacket, with a few bumped corners and light scuffing to covers.\u00a0 <\/span>$50<\/p>\n

75.\u00a0 <\/span>PARE, Richard.\u00a0 <\/span><\/b>Photography and Architecture: 1839-1939<\/i>, Montreal, Canada: Centre Canadien d\u2019Architecture, 1982.\u00a0 <\/span>Hardcover (cream cloth with printed labels affixed to front and spine), 10 x 12 \u00bc inches, 284 pages, 148 duotone illustrations, dustjacket.<\/p>\n

A major study of world architecture spanning the first century of photography, into the modernist era.\u00a0 <\/span>Among the structures pictured are the Crystal Palace, London (1851), the Giza Pyramids, Egypt (1858), the Singer and Woolworth Buildings, New York (1915), and Rockefeller Center, New York (1935).\u00a0 <\/span>Contributing photographers include Edouard Baldus, Thomas Annan, Eug\u00e8ne Atget, Frederick H. Evans, Alfred Stieglitz, and D. J. Ruzicka.\u00a0 <\/span>Essay by Richard Pare and introduction by Phyllis Lambert.\u00a0 <\/span>This is an exquisite publication, with plates by Meriden Gravure (some gatefolds) and the text in letterpress.\u00a0 <\/span>Mint condition, in shrink wrap and original shipping box.\u00a0 <\/span>$125<\/p>\n

76.\u00a0 <\/span>PLOWDEN, David.\u00a0 <\/span><\/b>Commonplace<\/i>, New York: Dutton-Sunrise, 1974.\u00a0 <\/span>Hardcover (black and blind-stamped white cloth), 10 \u00bc x 11 \u00bc inches, 120 pages, screen-gravure illustrations, dustjacket.<\/p>\n

\u201cPlowden\u2019s careful and affectionate portrait of America\u2019s side streets, back doors, and ordinary places, never dressed up for our inspection, but always appearing as informally as we might see our own surroundings.\u201d\u00a0 <\/span>Corners lightly bumped, in dustjacket that has a few wrinkles and tears.\u00a0 <\/span>$35<\/p>\n

77.\u00a0 <\/span>PORTLAND, Oregon.\u00a0 <\/span><\/b>Columbia Commercial Studio, Columbia Theatre<\/i>, c. 1930.\u00a0 <\/span>Gelatin silver print, 9 \u00bd x 7 \u00bd inches (image), 10 x 8 inches (sheet).<\/p>\n

This photograph focuses on the elaborate marquee of Portland\u2019s Columbia Movie Theatre, with neon lights that proclaimed it the \u201cHome of Silver Toned Photophone.\u201d\u00a0 <\/span>Visible above it is the bottom of a massive vertical sign spelling out \u201cColumbia\u201d and hundreds of light bulbs mounted to the building\u2019s brick fa\u00e7ade.\u00a0 <\/span>The theater opened in 1913 on Sixth Street SW, in downtown Portland.\u00a0 <\/span>The Columbia photographic studio, which made the photograph, was located only a block away but is not known to have been affiliated with the theater.\u00a0 <\/span>Studio\u2019s wet stamp, verso.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>A little silvering to the edges of the image and a few light crimps.\u00a0 <\/span>$100 <\/b><\/p>\n

78.\u00a0 <\/span>PRAGUE.<\/b>\u00a0 <\/span>Bohumil Landsich, Praha: Matka Mest<\/i>, Prague: Olympia, 1969.\u00a0 <\/span>Hardcover (gold and gray-stamped cream cloth), 12 \u00bd x 9 \u00be inches, unpaginated, 161 screen-gravure illustrations, dustjacket.<\/p>\n

A nice picture book dedicated to primarily the architecture and streets of Prague.\u00a0 <\/span>With a brief introduction by Farntisek Kozik (in Czech, German, French, and English).\u00a0 <\/span>Captions, in all four languages, give historical information about the subjects of the photographs.\u00a0 <\/span>Top and bottom of spine bumped, in dustjacket that is worn and wrinkled.\u00a0 <\/span>$35<\/p>\n

79.\u00a0 <\/span>PRAIRIE SCHOOL.<\/b>\u00a0 <\/span>Jennifer Komar Olivarez and Corine A. Wegener, Progressive Design in the Midwest: The Purcell-Cutts House and the Prairie School Collection at the Minneapolis Institute of Arts<\/i>, Minneapolis Institute of Arts, 2000.\u00a0 <\/span>Softcover, 9 \u00bd x 9 \u00bd inches, 200 pages, halftone illustrations (some in color).\u00a0 <\/span>Signed, with ephemera.<\/p>\n

The Purcell-Cutts House (completed in 1913 in Minneapolis) was designed by William Gray Purcell and George Grant Elmslie for Purcell\u2019s own family and was subsequently owned by Anson B. Cutts, who eventually donated it to the Minneapolis Institute of Arts.\u00a0 <\/span>It was the firm\u2019s most innovative and carefully detailed residential building and remains one of the most significant examples of Prairie School architecture in the country.\u00a0 <\/span>This book discusses the house and covers related objects by others in the museum\u2019s collection.\u00a0 <\/span>Among those represented are Louis H. Sullivan, Frank Lloyd Wright, George Washington Maher, Grueby Faience Company, Teco Pottery, and the Handicraft Guild of Minneapolis.\u00a0 <\/span>Laid in is a brochure on the Purcell-Cutts House.\u00a0 <\/span>This copy signed by both authors.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$35<\/p>\n

80.\u00a0 <\/span>PURCELL, William Gray.\u00a0 <\/span><\/b>St. Croix Trail Country: Recollections of Wisconsin<\/i>, Minneapolis: University of Minnesota Press, 1967.\u00a0 <\/span>Hardcover (paper over boards), 8 \u00be x 6 \u00bc inches, 126 pages, 32 screen-gravure illustrations, dustjacket.<\/p>\n

This \u201cdelightful, nostalgic recollection\u201d features the author\u2019s stories about spending time from 1887 to 1901, at ages seven to 21, with his grandparents at their summer home, located a little south of Superior, Wisconsin.\u00a0 <\/span>He recounts campfires, fishing, hunting, and boating in this largely unsettled wilderness.\u00a0 <\/span>Purcell (1880-1965) was a prominent Prairie School architect, first working with Louis Sullivan in Chicago and then running his own firm in Minneapolis with George Grant Elmslie.\u00a0 <\/span>Near fine condition, with previous owner\u2019s inscription on front pastedown, in price-clipped dustjacket that has tiny edgewear.\u00a0 <\/span>$35<\/p>\n

81.\u00a0 <\/span>ROTH, Alfred.<\/b>\u00a0 <\/span>The New Architecture<\/i>, Zurich, Switzerland: Dr. H. Girsberger, 1940.\u00a0 <\/span>Hardcover (black-stamped tan cloth), 9 \u00bd x 11 \u00bd inches, 236 pages, halftone illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

Using just twenty examples, Roth (1903-1988), a Swiss architect and writer, examines modern architecture of the early twentieth century.\u00a0 <\/span>Among the buildings are: Maison de Vacances (1935, Ocean, France) by Le Corbusier and Pierre Jeanneret; Experimental School (1934, Los Angeles) by Richard J. Neutra; and the Public Library (1932, Viipuri, Finland) by Alva Aalto.\u00a0 <\/span>Trilingual text, in French, German, and English.\u00a0 <\/span>This copy signed and dated 1950 by Roth.\u00a0 <\/span>Near fine except for glue residue on front pastedown, in dustjacket that has edgewear and a few small pieces missing.\u00a0 <\/span>$150<\/p>\n

82.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Every Building on the Sunset Strip<\/i>, Los Angeles: Edward Ruscha, 1966 (second printing).\u00a0 <\/span>Softcover, 7 \u00bc x 5 \u00be inches, unpaginated accordion-style pages, halftone illustrations, original silver slipcase.\u00a0 <\/span>Signed.<\/p>\n

One of the all-time best artist\u2019s books and certainly Ruscha\u2019s outstanding contribution to the field.\u00a0 <\/span>He captured all the structures, both commercial and residential, on both sides of the Sunset Strip, printed here, facing each other.\u00a0 <\/span>This copy signed by Ruscha.\u00a0 <\/span>Spine slightly wrinkled and light wear to two inches along bottom of slipcase.\u00a0 <\/span>$2,500<\/p>\n

83.\u00a0 <\/span>RUSCHA, Edward.\u00a0 <\/span><\/b>Then and Now: Hollywood Boulevard, 1973-2004<\/i>, Gottengen, Germany: Steidl, 2005.\u00a0 <\/span>Hardcover (black and blind-stamped white cloth), 12 \u00bd x 17 \u00bd inches, unpaginated, halftone illustrations (some in color), slipcase.<\/p>\n

This book combines four sets of images made along the length of Hollywood Boulevard, shot in the same style as Ruscha\u2019s classic Every Building on the Sunset Strip<\/i> (see entry above).\u00a0 <\/span>This one comprises black-and-white images along both sides of the street made in 1973 and color images from three decades later.\u00a0 <\/span>This oversize tome contrasts to the small, intimate size of the 1966 book.\u00a0 <\/span>In original printed slipcase.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$150<\/p>\n

84.\u00a0 <\/span>SHORE, Stephen.\u00a0 <\/span><\/b>Uncommon Places<\/i>, Millerton, New York: Aperture, 1982.\u00a0 <\/span>Hardcover (brown-stamped brown cloth), 10 x 11 \u00bd inches, 64 pages, 55 color halftone illustrations, dustjacket.<\/p>\n

With a brief quotation by architect Louis Sullivan, this is one of the classic photobooks of the late twentieth century, reportedly inspired by Walker Evans\u2019 American Photographs<\/i> and included in Parr and Badger\u2019s The Photobook: A History, Volume II<\/i>.\u00a0 <\/span>These American subjects are, in fact, the most everyday, primarily small-town main streets and vernacular architecture.\u00a0 <\/span>In meticulous detail and attuned to color harmonies, Shore presents subjects such as the Bay Theater in Ashland, Wisconsin, a non-descript apartment building in Easton, Pennsylvania, and a small clapboard house in Moody, Maine.\u00a0 <\/span>This copy is particularly nice, in near fine condition.\u00a0 <\/span>$350<\/p>\n

85.\u00a0 <\/span>SISKIND, Aaron.\u00a0 <\/span><\/b>William Morgan, Bucks County: Photographs of Early Architecture<\/i>, Bucks County Historical Society, 1974.\u00a0 <\/span><\/b>Hardcover, 11 \u00bc x 9 inches, 112 pages, duotone illustrations, dustjacket.<\/p>\n

Probably commissioned, these pictures document important 18th and 19th-century structures in this historic Pennsylvania county.\u00a0 <\/span>The images of houses, barns, mills, and bridges are reproduced in brown tones, undoubtedly to add a nostalgic flavor to them.\u00a0 <\/span>Essay by William Morgan, of Princeton University\u2019s Department of Art & Archaeology.\u00a0 <\/span>Tiny wear and tears to dustjacket.\u00a0 <\/span>$75\u00a0<\/b><\/p>\n

86.\u00a0 <\/span>STEAM BOILERS.\u00a0 <\/span><\/b>Facts<\/i>, New York: Babcock & Wilcox Company, 1895.\u00a0 <\/span>Hardcover, 10 \u00bd x 7 \u00bd inches, 24 pages, line drawing illustrations.<\/p>\n

This is a well-illustrated guide to the Babcock company\u2019s heating boilers.\u00a0 <\/span>It includes a history of the business and chapters on Closed-End Tubes, Tubes Closed Both Ends, Bent Tubes, and Aggregation of Pipe &Fittings.\u00a0 <\/span>Founded in 1867, Babcock & Wilcox is still operating today, as a nuclear power company.\u00a0 <\/span>The cover features a nice chromolithographic illustration of a group of entangled pipes.\u00a0 <\/span>Covers worn and separated from body text.\u00a0 <\/span>$75<\/p>\n

87.\u00a0 <\/span>SULLIVAN, Louis.\u00a0 <\/span><\/b>Edgar Kaufmann, Jr., editor.\u00a0 <\/span>Louis Sullivan and the Architecture of Free Enterprise<\/i>, Art Institute of Chicago, 1956.\u00a0 <\/span>Softcover, 10 x 7 \u00bd inches, 48 pages, halftone illustrations.<\/p>\n

This attractive item accompanied a Sullivan exhibition at the art institute, commemorating the centennial of his birth.\u00a0 <\/span>It includes excerpts from the architect\u2019s writings, comments by others about him, a list of his buildings,\u00a0 <\/span>bibliography, and other elements.\u00a0 <\/span>The cover features a color image of the striking fa\u00e7ade of Sullivan\u2019s Merchants\u2019 National Bank, in Grinnell, Iowa (1913).\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$25<\/p>\n

88.\u00a0 <\/span>WASHINGTON, D.C.<\/b>\u00a0 <\/span>Washington, The National\u2019s Capital: As Seen Through the Eye of a Camera<\/i>, Washington, D.C.: Washington News Company, c. 1945.\u00a0 <\/span>Softcover, 10 x 6 \u00be inches, 64 pages, halftone illustrations.<\/p>\n

\u201cThis book contains photos of the buildings in and around Washington which make Washington one of the most beautiful cities in the World.\u00a0 <\/span>The new buildings erected represent an outlay of many millions of dollars and must be seen to be appreciated.\u201d\u00a0 <\/span>Includes all the usual suspects, beginning and ending with the Washington Monument, and featuring the capitol building as the center spread.\u00a0 <\/span>Though not dated, the cover stock is the linen paper popular for postcards during the 1930s to 1950s.\u00a0 <\/span>A few pages with evidence of paper-eating insects, not affecting the image area.\u00a0 <\/span>$25<\/p>\n

89.\u00a0 <\/span>WESTON, Brett.\u00a0 <\/span><\/b>Alcoa Building, San Francisco<\/i>, 1977.\u00a0 <\/span>Gelatin silver print, 13 \u00be x 10 \u00be inches (image), 14 x 10 inches (sheet).<\/p>\n

Here, Weston zoomed in on one of the Alcoa Building\u2019s distinctive external x-braces, designed to withstand the seismic activity common in the Bay Area.\u00a0 <\/span>Contrasting to this rigid structural element are the reflections in the surrounding windows that create abstract shapes.\u00a0 <\/span>The building, designed in 1967 by Skidmore, Owings, & Merrill, is located on Clay Street, in San Francisco\u2019s financial district.\u00a0 <\/span>Reproduced in Brett Weston: Photographs from Five Decades<\/i>, as plate 65.\u00a0 <\/span>Title and date, in ink, and photographer\u2019s wet stamp, verso.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>A few crimps to image.\u00a0 <\/span>$1,500<\/p>\n

90.\u00a0 <\/span>WILCOX, Robert Gene.\u00a0 <\/span><\/b>Judith A. Martin and Robert Silberman, The Gateway<\/i>, Minneapolis: the authors, 1993.\u00a0 <\/span>Softcover (metal spiral binding), 17 x 11 \u00bc inches, 24 pages, halftone illustrations.\u00a0 <\/span>Signed.<\/p>\n

This oversize volume explores the Gateway district of downtown Minneapolis that underwent urban renewal in the 1960s.\u00a0 <\/span>Martin writes about the history and demolition of the area and Silberman places Wilcox\u2019s photographs in the tradition of urban documentary work.\u00a0 <\/span>Wilcox\u2019s images provide the most significant visual record of a 25-block area that contained many once regal nineteenth-century buildings before they were razed.\u00a0 <\/span>Includes a map of the district and many blocks systematically illustrated.\u00a0 <\/span>Both inside covers feature hand-cut pop-ups of the famed Metropolitan Building, the centerpiece of the destroyed structures.\u00a0 <\/span>Printed in an edition of only 375.\u00a0 <\/span>Bob Wilcox (1925-1970) was a leading Minnesota photographer during the 1960s.\u00a0 <\/span>He studied under Jerome Liebling at the University of Minnesota (Minneapolis) during the 1950s and was a photography instructor there from 1961 to 1967.\u00a0 <\/span>He photographed while traveling to the Northeast, Canada, Mexico, and Europe, but produced his most important body of work while documenting downtown Minneapolis during the early 1960s.\u00a0 <\/span>Using a 4-x-5-inch camera, he generated well-seen and sharply detailed urban images.\u00a0 <\/span>He suffered from acromegaly and committed suicide at age fifty-five.\u00a0 <\/span>The Minneapolis Institute of Arts houses his archive, including hundreds of exhibition and work prints, as well as virtually all of the photographer\u2019s negatives.\u00a0 <\/span>This copy signed by Silberman.\u00a0 <\/span>Fine condition.\u00a0 <\/span>$75<\/p>\n

91.\u00a0 <\/span>WILCOX, Robert Gene.\u00a0 <\/span><\/b>Bijou Cinemascope, Minneapolis<\/i>, c. 1960 (printed c. 1990).\u00a0 <\/span>Gelatin silver print, 13 x 10 \u00bc inches (image), 14 x 11 inches (sheet).<\/p>\n

\u00a0 <\/span><\/b><\/span>Pictures the two top stories (of four) of the movie theater on Washington Avenue in downtown Minneapolis.\u00a0 <\/span>Uppermost are two standard casement windows, but the story below comprises a colonnade of four arches, behind which are windows and columns that mimic it.\u00a0 <\/span>This is a posthumous print, made at the Minneapolis Institute of Arts, from Wilcox\u2019s original negative.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$50<\/p>\n

92.\u00a0 <\/span>WILCOX, Robert Gene.\u00a0 <\/span><\/b>Palace Hotel, Minneapolis<\/i>, c. 1960 (printed c. 1990).\u00a0 <\/span>Gelatin silver print, 10 \u00bc x 13 inches (image), 11 x 14 inches (sheet).<\/p>\n

Here Wilcox centered in the image the entrance to the Palace Hotel, one of the many flophouses that catered to the homeless and transient men that congregated in downtown Minneapolis during the 1950s.\u00a0 <\/span>From the looks of the battered wooden door, the accommodations here were far short of palatial.\u00a0 <\/span>The hotel occupied the two top stories of this building on Washington Avenue, just off of Nicollet Avenue, the city\u2019s main drag.\u00a0 <\/span>To the left of the hotel door we see part of a pawn shop, also a pervasive type of business in the area, and to the right a portion of the Sourdough Bar, which also operated in Ketchikan, Alaska.\u00a0 <\/span>Influenced by Walker Evans, Wilcox often faced his architectural subjects frontally, as is the case here.\u00a0 <\/span>This is a posthumous print, made at the Minneapolis Institute of Arts, from Wilcox\u2019s original negative.\u00a0 <\/span>Image sent upon request.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$50<\/p>\n

93.\u00a0 <\/span>WOLFF, Paul, and Alfred Tritschler.\u00a0 <\/span><\/b>Breslau, Germany<\/i>, c. 1940.\u00a0 <\/span>Five (5) gelatin silver prints, each 6 \u00bc x 4 \u00bd inches (images and sheets), 9 \u00bd x 7 \u00bc inches (mounts).<\/p>\n

The images picture the city of Breslau, which became Wroclaw, Poland, after World War II.\u00a0 <\/span>Seen are its churches, fountains, square, courthouse, town hall, and other buildings.\u00a0 <\/span>These prints were apparently published by Photographia Wetzlar, using negatives from the Wolff & Tritschler archive.\u00a0 <\/span>Paul Wolff (1887-1951) earned a medical degree but devoted his life to photography, partnering with Alfred Tritschler in Frankfurt, Germany.\u00a0 <\/span>He was a pioneer in both color and 35-mm photography, writing many books on the subjects during the 1930s and forties.\u00a0 <\/span>Minor wear to mounts. Group of five: $250 \u00a0<\/b><\/span><\/p>\n

94.\u00a0 <\/span>WOOD, Charles B., III<\/b><\/p>\n

<\/b>Catalogue 110: Rare Architectural Books, 1516-1966<\/i>.\u00a0 <\/span>Softcover, 9 x 9 inches, 92 pages, halftone illustrations, 297 entries.<\/p>\n

Catalogue 120: Rare Architectural Books from Circa 1800 to Circa 1950<\/i>.\u00a0 <\/span>Softcover, 9 x 9 inches, 68 pages, halftone illustrations, 192 entries.<\/p>\n

Catalogue 156: Rare Architectural Books<\/i>.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, 96 pages, halftone illustrations (some in color), 218 entries.<\/p>\n

Catalogue 165: Rare Architectural Books, 1543-1950<\/i>.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, 64 pages, halftone illustrations (some in color), 181 entries.<\/p>\n

Catalogue 171: Rare Architectural Books, Pamphlets & Portfolios, Also A Good Selection of Architectural Trade Catalogues<\/i>.\u00a0 <\/span>Softcover, 70 pages, halftone illustrations (some in color), 228 entries.<\/p>\n

Dealer\u2019s catalogs, offering high-end architectural publications, always well described.\u00a0 <\/span>Group of five: $25<\/p>\n

95.\u00a0 <\/span>WRIGHT, Frank Lloyd.\u00a0 <\/span><\/b>The Natural House<\/i>, New York: Horizon Press, 1954.\u00a0 <\/span>Hardcover (black and red-stamped cream cloth), 10 \u00bc x 8 \u00bc inches, 224 pages, halftone illustrations, dustjacket.<\/p>\n

Published five years before his death, Wright promotes his Usonian houses, well-designed but affordable homes for the masses, dating from 1936 to 1954.\u00a0 <\/span>He discusses his philosophy, building methods and materials, and illustrates the book with finished structures in Alabama, Arizona, and elsewhere.\u00a0 <\/span>Light staining along bottom of cloth, in dustjacket that is lightly worn, chipped, and torn.\u00a0 <\/span>$100<\/p>\n

96.\u00a0 <\/span>WRIGHT, Frank Lloyd.\u00a0 <\/span><\/b>The Natural House<\/i>, New York: Horizon Press, 1954.<\/p>\n

Another copy, without the dustjacket.\u00a0 <\/span>Light browning to covers.\u00a0 <\/span>$75\u00a0<\/span><\/p>\n

97.\u00a0 <\/span>WRIGHT, Frank Lloyd.\u00a0 <\/span><\/b>Kristin Visser, Frank Lloyd Wright & the Prairie School in Wisconsin<\/i>, Madison: Prairie Oak Press, 1992.\u00a0 <\/span>Softcover, 9 \u00bd x 8 \u00bd inches, 252 pages, halftone illustrations.<\/p>\n

Touted as \u201cAn Architectural Touring Guide,\u201d this volume is a compre-hensive look at 46 Wright-designed buildings along with an additional 36 by other Prairie School architects.\u00a0 <\/span>\u201cThe author provides histories of the design and construction of the buildings, physical descriptions, a measure of their architectural importance, their places in the architect\u2019s work, and special features that the visitor might observe.\u00a0 <\/span>She also includes a brief biography of Wright, placing him in the Wisconsin context, and a short history of the Prairie School, including individual sketches of its best-known Wisconsin practitioners.\u201d\u00a0 <\/span>Wright, of course, spent much of his life based in the state, at his home and school Taliesin, near Madison.\u00a0 <\/span>A few bends to covers.\u00a0 <\/span>$25<\/p>\n

ARTS & CRAFTS MOVEMENT<\/b><\/p>\n

98.\u00a0 <\/span>DENKER, Bert, <\/b>editor.\u00a0 <\/span>The Substance of Style: Perspectives on the American Arts and Crafts Movement<\/i>, Winterthur, Delaware; Henry Francis du Pont Winterthur Museum, 1996.\u00a0 <\/span>Hardcover (gold-stamped gray cloth), 8 \u00be x 5 \u00be inches, 470 pages, halftone illustrations, dustjacket. Signed.<\/p>\n

\u201cIn 23 separate essays by prominent museum curators, educators, collectors, and scholars, the complex aspects of the American arts and crafts movement are examined: national and international style and ideology; industrial design; redefinition of craft traditions; unification of the fine and decorative arts; and community visions.\u00a0 <\/span>New discoveries in objects, photographs, and rare prints and manuscripts illustrate the text.\u201d\u00a0 <\/span>This copy signed by two of the authors\u2014Catherine L. Futter (Minneapolis Institute of Arts) and Marcia Gail Anderson (Minnesota Historical Society).\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$100<\/p>\n

99.\u00a0 <\/span>DOW, Arthur Wesley.\u00a0 <\/span><\/b>Nancy E. Green and Jessie Poesch, Arthur Wesley Dow and American Arts & Crafts<\/i>, New York: American Federation of Arts, 1999.\u00a0 <\/span>Hardcover (copper-stamped blue cloth and paper over boards), 10 x 9 \u00bc inches, 206 pages, halftone illustrations (many in color).\u00a0 <\/span>Signed, with ephemera.<\/p>\n

This book, issued without a dustjacket, accompanied a traveling exhibition of work by Dow and other leaders of the American arts and crafts movement.\u00a0 <\/span>Green writes about Dow as an artist and educator and Poesch addresses his influence on potteries such as Dedham, Grueby, and Marblehead.\u00a0 <\/span>Many workers contribute prints, watercolors, photographs, ceramics, tiles, furniture, textiles, and other objects.\u00a0 <\/span>Laid in are a brochure, small poster, and bookmark related to the exhibition.\u00a0 <\/span>This copy signed by both authors.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$75\u00a0\u00a0<\/span><\/p>\n

100.\u00a0 <\/span>FREEMAN, John Crosby, <\/b>editor.\u00a0 <\/span><\/b>Antique Furniture Handbook: Mission and Art Nouveau<\/i>, Watkins Glen, New York: Century House, 1966.\u00a0 <\/span>Hardcover (orange cloth), 8 \u00bd x 5 \u00bd inches, 104 pages,<\/p>\n

Despite the title, the book is devoted almost exclusively to arts-and-crafts furnishings.\u00a0 <\/span>Its largest sections comprise reprints of the 1909 book Mission Furniture: How to Make It<\/i> (see entries below) and a 1909 furniture catalog of the\u00a0 <\/span>Joseph P. McHugh Company.\u00a0 <\/span>Also includes Freeman\u2019s take on \u201cGustav Stickley\u2019s Mission\u201d and examples of a few of his pieces.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$25<\/p>\n

101.\u00a0 <\/span>FROEHLICH, Hugo B., and Bonnie E. Snow.\u00a0 <\/span><\/b>Text Books of Art Education: Book III, Third Year<\/i>, New York: Prang Educational Company, 1904.\u00a0 <\/span>Hardcover (black and red-stamped blue cloth), 7 \u00bc x 6 inches, 82 pages, screen-gravure and chromolithographic (color) illustrations.<\/p>\n

Written by two former art teachers, this is one of a set of six books that instructs drawing and the making of simple arts-and-crafts inspired objects.\u00a0 <\/span>Includes a color chart and examples of images rendered in pencil, crayon, and paint.\u00a0 <\/span>Among the objects presented are a book cover, lantern, calendar, pouch, flower pot, and baking dish.\u00a0 <\/span>Covers worn and stained.\u00a0 <\/span>$25<\/p>\n

102.\u00a0 <\/span>HUBBARD, Elbert.\u00a0 <\/span><\/b>Felix Shay, Elbert Hubbard of East Aurora<\/i>, New York: William H. Wise, 1926.\u00a0 <\/span>Hardcover (blind-stamped brown cloth with label on spine), 8 \u00be x 6 \u00bc inches, 554 pages, cartoon illustrations.<\/p>\n

The first biography of Hubbard (1856-1915), who founded and ran the Roycroft community and arts-and-crafts business outside of Buffalo.\u00a0 <\/span>It began in 1895 primarily as a print shop and expanded to include the production of furniture, metalwork, and leather items.\u00a0 <\/span>Hubbard was an inspirational figure, speaking, writing books, and editing magazines.\u00a0 <\/span>Shay covers his philosophy and whole life, which ended dramatically on the Lusitania, which was sunk by the Germans at the beginning of World War I.\u00a0 <\/span>Foreword by auto maker Henry Ford.\u00a0 <\/span>Though issued by a mainstream New York publisher, the entire book was designed, printed and bound by Roycroft artists and craftsmen, in East Aurora.\u00a0 <\/span>Tiny wear to a few tips, spine label yellowed and lifting along one edge.\u00a0 <\/span>$25<\/p>\n

103.\u00a0 <\/span>KAPLAN, Wendy,<\/b> and others.\u00a0 <\/span>\u201cThe Art that is Life:\u201d The Arts & Crafts Movement in America, 1875-1920<\/i>, Boston: Museum of Fine Arts, 1987.\u00a0 <\/span>Hardcover (brown-stamped cream cloth), 10 x 9 \u00bc inches, 410 pages, 316 duotone and 55 color illustrations, dustjacket.\u00a0 <\/span>Signed.<\/p>\n

This was the first major examination of the subject and remains today a valuable resource.\u00a0 <\/span>Museum curator Kaplan was joined by over a dozen other scholars, to address the American arts and crafts movement\u2019s English origins and influences, its styles, social ideas, schools, communities, and domestic developments.\u00a0 <\/span>They examine furniture, ceramics, metalwork, books, and architecture by Frank Lloyd Wright, George Washington Maher, and Greene and Greene. \u00a0 <\/span>This copy signed by Kaplan.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$150<\/p>\n

104.\u00a0 <\/span>MEYER, Marilee Boyd, <\/b>and others.\u00a0 <\/span><\/b>Inspiring Reform: Boston\u2019s Arts and Crafts Movement<\/i>, Wellesley, Massachusetts: Davis Museum and Cultural Center, 1997.\u00a0 <\/span>Hardcover (copper and blind-stamped blue cloth), 14 \u00bc x 9 inches, 248 pages, 236 halftone illustrations (some in color), dustjacket.<\/p>\n

The definitive volume on the craftsmen and handwork that sprung from Boston, the site of the country\u2019s first society of arts-and-crafts people, founded in 1897.\u00a0 <\/span>It is an elaborately designed item, with different colored paper stocks and essays by ten scholars, among them Beverly K. Brandt, Susan J. Montgomery, Anne E. Havinga, and David Acton.\u00a0 <\/span>They address topics such as furniture, pottery, metalwork, jewelry, textiles, books, photographs, prints, moral aesthetics, and the Society of Arts & Crafts, Boston.\u00a0 <\/span>Includes an extensive number of biographies for the makers whose work is featured.\u00a0 <\/span>The translucent dustjacket reproduces on the front a hand-colored interior photograph by Wallace Nutting.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$75<\/p>\n

105.\u00a0 <\/span>MISCELLANEOUS.<\/b><\/p>\n

Stickley Mission Oak & Cherry Collection<\/i>, Manlius, New York: L. & J.G. Stickley, c. 1990.\u00a0 <\/span>Softcover, 56 pages, color halftone illustrations.<\/p>\n

American Bungalow<\/i>, Number 13, 1996.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, 64 pages, halftone illustrations (some in color).<\/p>\n

2005 Grove Park Inn Arts & Crafts Conference<\/i>, Fletcher, North Carolina: Bruce E. Johnson, 2005.\u00a0 <\/span>Softcover, 11 x 8 \u00bd inches, 96 pages, halftone illustrations (some in color).\u00a0 <\/span>Group of 3: $25 <\/b><\/p>\n

106.\u00a0 <\/span>MISSION FURNITURE.<\/b>\u00a0 <\/span>Mission Furniture: How to Make It: <\/i><\/p>\n

Part I<\/i>, Chicago: Popular Mechanics, 1909.\u00a0 <\/span>Hardcover (black and white-stamped red cloth), 7 x 4 \u00be inches, 126 pages, halftone and line illustrations.<\/p>\n

One of a set of three practical little books that features written instructions, diagrams, and images of the finished pieces.\u00a0 <\/span>This one covers over fifty items, such as wastepaper baskets, bookshelves, lamps, chairs, dressers, and tables.\u00a0 <\/span>Tiny wear and stains to covers.\u00a0 <\/span>$100<\/p>\n

107.\u00a0 <\/span>MISSION FURNITURE.<\/b>\u00a0 <\/span>Mission Furniture: How to Make It: <\/i><\/p>\n

Part III<\/i>, Chicago: Popular Mechanics, 1912.\u00a0 <\/span>Hardcover (black and white-stamped blue cloth), 7 x 4 \u00be inches, 126 pages, halftone and line illustrations.<\/p>\n

Identical in format to the above entry, with a different selection of objects, like a piano bench, wardrobe, swing, and magazine stand.\u00a0 <\/span>The one-page introduction points out that the book was \u201cwritten so you can understand it, and intended to furnish information on mechanical subjects at a price within the reach of all.\u201d\u00a0 <\/span>Last six pages of advertisements missing, covers stained and lightly worn.\u00a0 <\/span>$100<\/p>\n

108.\u00a0 <\/span>ROSE VALLEY.\u00a0 <\/span><\/b>William Ayres and Ann Barton Brown, A Poor Sort of Heaven, A Good Sort of Earth: The Rose Valley Arts and Crafts Experiment<\/i>, Chadds Ford, Pennsylvania: Brandywine River Museum, 1983.\u00a0 <\/span>Softcover, 9 x 7 inches, 134 pages, halftone illustrations.<\/p>\n

Seemingly the first modern-day examination of the arts and crafts community located just outside of Philadelphia, active in the early twentieth century.\u00a0 <\/span>Comprises essays by experts such as Robert L. Edwards and William Innes Homer, on topics like architect William L. Price, ornamental tiles, interiors, furniture, pottery, books, and photographs.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$35<\/p>\n

109.\u00a0 <\/span>TILLER.<\/b>\u00a0 <\/span>Tiller: A Bimonthly Devoted to the Arts and Crafts Movement<\/i>, 1982-1984.<\/p>\n

Edited by Robert Edwards and published by The Artsman, in Bryn Mawr, Pennsylvania.\u00a0 <\/span>This well-designed little periodical covered aspects of the design reform movement in the United States and England around the turn of the twentieth century.\u00a0 <\/span>Text in all the issues was letterpress printed and the illustrations tipped-in and sometimes hand-colored, in a decidedly small edition.\u00a0 <\/span>Unfortunately it ran to only two volumes, 1982-1984, and twelve (12) issues.\u00a0 <\/span>Among the subjects of the articles, by experts on the arts and crafts movement, were Teco Pottery, John Scott Bradstreet, George Washington Maher, bookmaking, architecture, and the Boston Society of Arts and Crafts.\u00a0 <\/span>Near fine condition.<\/p>\n

Complete run: $500<\/p>\n

110.\u00a0 <\/span>TRAPP, Kenneth R., <\/b>and others.\u00a0 <\/span><\/b>The Arts and Crafts Movement in California: Living the Good Life<\/i>, Oakland Museum and Abbeville Press, New York, 1993.\u00a0 <\/span>Hardcover (white and blind-stamped maroon cloth), 11 \u00bc x 10 \u00bc inches, 328 pages, 212 halftone illustrations (some in color), dustjacket.<\/p>\n

The most substantial volume on the movement in California, with nine chapters and many biographies and company histories.\u00a0 <\/span>Among the topics are the California garden, the built environment, tiles, San Francisco, San Diego, and the movements legacy after 1918.\u00a0 <\/span>Cheryl Robertson contributes \u201cThe Resort to the Rustic: Simple Living and the California Bungalow\u201d and Leslie Green Bowman \u201cThe Arts and Crafts Movement in the Southland.\u201d\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$100<\/p>\n

111.\u00a0 <\/span>VOLPE, Tod M., and Beth Cathers.\u00a0 <\/span><\/b>Treasures of the American Arts and Crafts Movement<\/i>, New York: Harry N. Abrams, 1988.\u00a0 <\/span>Hardcover (gold and blind-stamped red cloth), 12 x 9 inches, 208 pages, 144 halftone illustrations (most in color), dustjacket.<\/p>\n

With text by Leslie Bowman and Alastair Duncan, this book of greatest hits focuses on furniture, ceramics, metal and silver, and lighting and windows.\u00a0 <\/span>Work by about fifty individuals and companies important to the movement are included, such as Gustav Stickley, Frank Lloyd Wright, Van Briggle, Grueby, Roycroft, Louis Sullivan, Tiffany, and Dirk Van Erp.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$75<\/p>\n

DESIGN<\/b><\/p>\n

112.\u00a0 <\/span>AMERICAN INDUSTRIAL DESIGN.\u00a0 <\/span><\/b>U.S. Industrial Design, 1951<\/i>, New York: Studio, 1951.\u00a0 <\/span>Hardcover (white-stamped black cloth), 12 \u00bc x 9 \u00bc inches, 190 pages, halftone illustrations.<\/p>\n

Produced by the Society of Industrial Designers in New York, this volume presents household objects, recreational and personal items, commercial and professional equipment, means of transportation, industrial apparatus and machinery, packaging, and commercial interiors and exteriors, with comments by their own designers and manufacturers.\u00a0 <\/span>Among them is a combination sink\/electric dishwasher by Hotpoint, dinnerware by Walter Dorwin Teague, miniature cameras by Eastman Kodak, an ocean liner by Henry Dreyfuss, Lucky Strike cigarette boxes by Raymond Loewy, and the redesign of the Strand movie theatre for the Fox Wisconsin Amusement Corporation.\u00a0 <\/span>Includes an index to the over 50 designers who contributed, from Reino Aarnio to Russel Wright.\u00a0 <\/span>Tiny edgewear and rubbing to covers, black tape over spine, with the clipped dustjacket flaps laid in.\u00a0 <\/span>$50<\/p>\n

113.\u00a0 <\/span>ASPEN.<\/b>\u00a0 <\/span>Aspen: The Magazine in a Box<\/i>, 1965, issue number 1.\u00a0 <\/span>Box, 12 \u00bc x 9 \u00bd inches, loose contents.<\/p>\n

The initial issue of the \u201cmagazine,\u201d which was published six times a year but lasted only ten numbers.\u00a0 <\/span>This copy is complete, with the flex record, editor\u2019s letter, seven pamphlets, and the advertising folder.\u00a0 <\/span>The pamphlets are: \u201cSki-Roaming, Lift-Shunning, Mountain-Touring,\u201d \u201cJazz: A Cool Duel,\u201d \u201cA Sanctuary for Deer, Peacocks, and People,\u201d \u201cThe White-Tailed Ptarmigan,\u201d \u201cConfigurations of the New World,\u201d \u201cThe IBM Pavilion,\u201d and \u201cLet\u2019s Make Op.\u201d\u00a0 <\/span>Editor Phyllis Johnson declared, \u201cIn calling it a \u2018magazine,\u2019 we are harking back to the original meaning of the word as \u2018a storehouse, a cache, a ship laden with stores.\u2019\u00a0 <\/span>That\u2019s what we want each issue to be.\u201d\u00a0 <\/span>Covers rubbed and a little worn, with a small loss.\u00a0 <\/span>$125<\/p>\n

114.\u00a0 <\/span>BAYER, Herbert.\u00a0 <\/span><\/b>World Geo-Graphic Atlas: A Composite of Man\u2019s Environment<\/i>, Chicago: Container Corporation of America, 1953.\u00a0 <\/span>Hardcover (gold-stamped cream burlap, 15 \u00be x 11 inches, 368 pages, halftone illustrations.<\/p>\n

This weighty volume was edited and designed by the talented artist\/designer Bayer.\u00a0 <\/span>It contains attractive maps and illustrations addressing the world\u2019s geography, geology, demography, astronomy, climatology, and economics.\u00a0 <\/span>Features gilt-edge pages and eye-popping endpapers of a red and black design.\u00a0 <\/span>It reportedly was issued with a dustjacket, which is now rare.\u00a0 <\/span>An example of this book was included in the exhibition \u201cGraphic Design in America: A Visual Language History\u201d at the Walker Art Center (Minneapolis, 1989).\u00a0 <\/span>Wear to tips, and a few faint marks to the covers.\u00a0 <\/span>$125<\/p>\n

115.\u00a0 <\/span>BAYER, Herbert.\u00a0 <\/span><\/b>Herbert Bayer: Painter, Designer, Architect<\/i>, New York: Reinhold, 1967.\u00a0 <\/span>Hardcover (red and blind-stamped blue cloth), 11 \u00bc x 9 \u00bc inches, 212 pages, screen-gravure illustrations (some in color), dustjacket.<\/p>\n

Written and assembled by Bayer, this is a wide ranging look at his contributions to many fields, up to about twenty years before he died.\u00a0 <\/span>It features his graphic design, typography, exhibition design, industrial design, architectural and environmental art, paintings, and murals.\u00a0 <\/span>Demonstrating the importance of the World Geo-Graphic Atlas<\/i> in the above entry, Bayer devoted eight pages to it here.\u00a0 <\/span>Small indentation to first ten pages, light scuffs to cover, in dustjacket that is torn, worn, and missing small pieces.\u00a0 <\/span>$35\u00a0<\/b><\/span><\/p>\n

116.\u00a0 <\/span>DESIGN QUARTERLY.\u00a0 <\/span><\/b>Minneapolis: Walker Art Center, softcovers, 11 x 8 \u00bd inches.<\/p>\n

No. 66\/67, Design and the Computer<\/i>, 1966.<\/p>\n

No. 86\/87, International Design Conference: The Invisible City<\/i>, 1972.<\/p>\n

No. 108, Vacant Lottery<\/i>, 1978.<\/p>\n

No. 111\/112, Elusive Image<\/i>, 1979.<\/p>\n

No. 121, Robots<\/i>, 1983.<\/p>\n

No. 132, Suburbs<\/i>, 1986.<\/p>\n

No. 151, Framing American Cities<\/i>, 1991.<\/p>\n

No. 152, Architecture Tomorrow and the Visionary Tradition<\/i>, 1991.<\/p>\n

No. 153, Beyond Style: The Designer and Society<\/i>, 1991.<\/p>\n

No. 154, Founded by the Walker Art Center in 1946<\/i>, 1992.<\/p>\n

No. 155, Nursery and Greenhouse, Garden and Orchard<\/i>, 1992.<\/p>\n

Group of eleven (11) issues: $75<\/p>\n

117.\u00a0 <\/span>DYES.\u00a0 <\/span><\/b>Dyes Made in America, 1915-1940<\/i>, Bound Brook, New Jersey: Calco Chemical Division, American Cyanamid Company, 1940.\u00a0 <\/span>Hardcover (silver spine, blue cloth with affixed label), 12 \u00bc x 9 \u00bc inches, 66 pages, 9 screen-gravure and 8 color halftone illustrations.<\/p>\n

A company book, that tells the history of Calco (founded in 1915) and Cyanamid and about its discoveries and manufacturing of industrial dyes.\u00a0 <\/span>It is a well-designed and produced piece, with letterpress printing, small hand-rendered illustrations on some pages, quality black-and-white reproductions of the plant, and the color reproductions, mostly of fabrics, tipped-in.\u00a0 <\/span>Robert E. Coates was the photographs, contributing modernist images; the monochrome images are sometimes montages and the color ones frequently incorporate dramatic diagonals.\u00a0 <\/span>Tiny rubbing and scuffing to covers.\u00a0 <\/span>$50<\/p>\n

118.\u00a0 <\/span>EGYPT.\u00a0 <\/span><\/b>Documents D\u00e9coratifs Beaux-Arts Industries d\u2019Art: Serie Documents D\u2019Art Egyyptien<\/i>, Paris: Charles Moreau, 1930s.\u00a0 <\/span>Folder (cloth spine label affixed to paper-over-boards cover), 12 x 8 inches, title page and 43 loose plates.<\/p>\n

Comprises a description of Egypt, from the Expedition of the French Army under Napoleon.\u00a0 <\/span>The title page lists 56 plates representing hieroglyphs, sculptures, jewelry, pipes, musical instruments, and other objects and designs, in Thebes, Philae, and elsewhere.\u00a0 <\/span>Covers worn and gouged.\u00a0 <\/span>$75<\/p>\n

119.\u00a0 <\/span>GENTRY.<\/b><\/p>\n

Number 13, Winter 1954-55, 12 x 9 inches, 164 pages, halftone and screen-gravure illustrations (some in color).\u00a0 <\/span>This men\u2019s lifestyle magazine featured articles on art, music, literature, cars, clothing, and food and drink.\u00a0 <\/span>Every issue was an elaborate production, with different paper stocks and tipped-in items.\u00a0 <\/span>This issue covered Matisse, Hong Kong, Japanese wrestling, automobile designers, solar boats of ancient Egypt, and other topics.<\/p>\n

Number 19, Summer 1956,\u00a0 <\/span>12 x 9 inches, 128 pages, halftone and screen-gravure illustrations (some in color).\u00a0 <\/span>Among the articles are those on flies and fishing lures, Pieter Brueghel, the American vice-presidency, and \u201cA Man\u2019s Primer on How to Grill and Broil\u201d by James Beard.<\/p>\n

Number 22, Spring 1957, 12 x 9 inches, 122 pages, halftone and screen-gravure illustrations (some in color).\u00a0 <\/span>This issue includes features on Edward Weston and W. Eugene Smith and a piece titled \u201cIn Praise of Booze.\u201d Group of 3: $75<\/p>\n

120.\u00a0 <\/span>GLASS MAKING.\u00a0 <\/span><\/b>Sidney Waugh, The Art of Glass Making<\/i>, New York: Dodd, Mead & Company, 1937.\u00a0 <\/span>Hardcover (blind-stamped black cloth with label affixed), 9 \u00bd x 6 \u00bd inches, unpaginated, 29 screen-gravure illustrations.<\/p>\n

A small, handsome book that, in text and pictures, shows the making of a number of crystal glass pieces by craftsmen in an unidentified shop.\u00a0 <\/span>The somewhat modernist photographs are by Robert Yarnall Richie (1908-1984), who is credited on the title page and who was known for his images in industries such as oil and aviation.\u00a0 <\/span>Includes outline illustrations of nearly 30 historical types of glass, from \u201cRoman, First Century B.C.\u201d to \u201cSwedish, Modern.\u201d\u00a0 <\/span>Author Sidney Waugh (1904-1963) was a recognized American sculptor; a modernist Steuben glass bowl designed by him (owned by the Metropolitan Museum of Art) comprises the last reproduction.\u00a0 <\/span>Light wear to covers and tiny piece missing from cover label.\u00a0 <\/span>$25<\/p>\n

121.\u00a0 <\/span>GUITARS.\u00a0 <\/span><\/b>Ferrington Guitars<\/i>, Frankfurt am Main, Germany: Zweitausendeins and Callaway Editions, 1992.\u00a0 <\/span>Hardcover (paper over boards with compact disc inserted), 13 \u00bd x 10 \u00bc inches, 120 pages, halftone illustrations (most in color), dustjacket.<\/p>\n

This trapezoid-shaped book examines custom guitars made by Danny Ferrington (born 1953), who began creating them in Los Angeles in 1980.\u00a0 <\/span>His acoustic and electric instruments were commissioned by the likes of Elvis Costello, Pete Townsend, Rosanne Cash, Jackson Browne, Kurt Cobain, and Chrissie Hind.\u00a0 <\/span>Includes an introduction by singer Linda Ronstadt and a profile of Ferrington.\u00a0 <\/span>The CD (housed in the front cover) features 20 performances on the guitars, by Ry Cooder, Phoebe Snow, J. D. Souther, and others.\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$35<\/p>\n

122.\u00a0 <\/span>MODERNISM.\u00a0 <\/span><\/b>Wendy Kaplan, editor, Designing Modernity: The Arts of Reform and Persuasion, 1885-1945<\/i>, New York: Thames and Hudson, 1995.\u00a0 <\/span>Softcover, 11 x 10 inches, 352 pages, halftone illustrations (some in color).\u00a0 <\/span>Signed.<\/p>\n

Drawn from the collection of the Wolfsonian in Miami Beach, this substantial volume covers a half century of modern objects from the United States, Russia, and numerous European countries.\u00a0 <\/span>Dating primarily from the 1890s to 1940s, they include a clock by L. & J.G. Stickley, a radio by Walter Dorwin Teague, a chair by Marcel Breuer, a glass vase by Alvar Aalto, a collage by John Hearfield, a wooden splint by Charles Eames, and posters by Alphonse Mucha and Normal Rockwell.\u00a0 <\/span>Wolfsonian curator Kaplan and nine other experts write about such topics as romantic nationalism in design, decorative arts in Amsterdam, wrought iron and aluminum objects from Italy, and workers in German, Italian, and American art during the 1930s.\u00a0 <\/span>This copy inscribed and dated 1999 by Kalpan.\u00a0 <\/span>Tiny wear to cover edges.\u00a0 <\/span>$35<\/p>\n

123.\u00a0 <\/span>MUSEUM of MODERN ART.<\/b>\u00a0 <\/span>The Design Collection: Selected Objects<\/i>, New York: Museum of Modern Art, 1970.\u00a0 <\/span>Softcover (plastic spiral binding), 8 x 8 \u00bc inches, unpaginated, screen-gravure illustrations (some in color).<\/p>\n

With a statement by museum curator Arthur Drexler, a group of over 50 outstanding examples of industrial design from MOMA\u2019s permanent collection.\u00a0 <\/span>It includes teapots, cups, drinking glasses, chairs, desks, jewelry boxes, clocks, typewriters, radios, lamps, vacuum cleaners, silverware, turntables, and helmets.\u00a0 <\/span>Among the designers represented are Favrile, Mies van der Rohe, Alvar Alto, Rennie Mackintosh, Marcel Breuer, and Frank Lloyd Wright.\u00a0 <\/span>Covers rubbed and lightly worn.\u00a0 <\/span>$25<\/p>\n

124.\u00a0 <\/span>PAINT.\u00a0 <\/span><\/b>The Age of Color<\/i>, Cleveland: Glidden Company, 1936.\u00a0 <\/span>Hardcover (metal spiral binding), 11 x 8 \u00be inches, 100 pages, halftone illustrations (some in color).<\/p>\n

This self-described \u201ctreatise on color\u201d covers many aspects of color and the paints that the Glidden company offered.\u00a0 <\/span>Among the applications are home interiors, apartments, floors, schools, offices, hotels, hospitals, and stores.\u00a0 <\/span>Most significant are the over 250 pasted-in paint chips, including those made for endurance, shingles, farms, factories, porches, decks, and concrete.\u00a0 <\/span>In his foreword, Adrian Joyce, the president of Glidden, observed that \u201cwithout its painting and decorating craft, America would soon become a nation drab, indeed, a nation without the blending harmony of colors so skillfully obtained through the artistry of architects and master painters using quality paint, and furthermore, a nation of homes decaying because of inadequate paint protection.\u201d\u00a0 <\/span>Covers worn.\u00a0 <\/span>$35<\/p>\n

125.\u00a0 <\/span>POSTER.\u00a0 <\/span><\/b>Victor Moscoso, The Doors<\/i>, San Francisco: Family Dog Productions, 1967.<\/p>\n

This is one of the most popular psychedelic posters for San Francisco\u2019s Avalon Ballroom, a venue similar to Bill Graham\u2019s Fillmore Auditorium (FD-57).\u00a0 <\/span>It advertises the dance concerts of April 14-15, 1967, which featured the Doors and Miller Blues Band (later renamed the Steve Miller Band).\u00a0 <\/span>Victor Moscoso (born 1936) was one of the leading poster artists in the Bay Area during the 1960s, specializing in block-like lettering and complimentary colors that simulated the appearance of visual vibration.\u00a0 <\/span>Here he additional used a swirling circle that emanates from the breast of a barely discernable female figure.\u00a0 <\/span>First printing, in fine condition.\u00a0 <\/span>$950<\/p>\n

126.\u00a0 <\/span>POSTER.\u00a0 <\/span><\/b>Victor Moscoso, The Doors<\/i>, San Francisco: Family Dog Productions, 1967.<\/p>\n

Another outstanding Avalon Ballroom poster by Moscoso (see above entry), this one for the May 12-13, 1967, shows, also headlined by the Doors (FD-61).\u00a0 <\/span>For the illustration here, he used two images from an early motion picture depicting a woman with fabric on her arms that looks like butterfly wings.\u00a0 <\/span>When the poster is viewed under alternating blue and red lights, the figure appears to be flapping her wings.\u00a0 <\/span>First printing, in fine condition.\u00a0 <\/span>$950<\/p>\n

127.\u00a0 <\/span>POSTER.\u00a0 <\/span><\/b>Rick Griffin, Sutter\u2019s Mill<\/i>, San Francisco: Family Dog Productions, 1967.<\/p>\n

Griffin (1944-1991), another major San Francisco designer, demonstrates his great skill as a draftsman in this poster for the Avalon Ballroom\u2019s May 19-21, 1967, dance concerts (FD-62).\u00a0 <\/span>It shows a man panning for gold at Sutter\u2019s Mill, the place that set off the California Gold Rush in the mid-nineteenth century.\u00a0 <\/span>Quicksilver Messenger Service and Country Joe & the Fish were the featured bands.\u00a0 <\/span>First printing, in fine condition.\u00a0 <\/span>$125<\/p>\n

128.\u00a0 <\/span>POSTERS.<\/b><\/p>\n

<\/b>Horizon<\/i>, Autumn 1967 (volume IX, number 4).\u00a0 <\/span>Hardcover (gold-stamped green cloth with mounted illustration), 12 \u00bc x 9 \u00bc inches, 120 pages, halftone illustrations (some in color).\u00a0 <\/span>Includes the article \u201cPosters,\u201d with one page of text and 15 color illustrations of 1960s posters in a foldout section.\u00a0 <\/span>Among them are two by Milton Glaser (of Bob Dylan and Mahalia Jackson), Evergreen<\/i> magazine (picturing Allen Ginsberg), \u201cLove\u201d by Robert Indiana, personality posters of<\/p>\n

W. C. Fields and Mao Zedong, and four psychedelic posters by Victor Moscoso and Wes Wilson for the Matrix club and the Fillmore Auditorium.\u00a0 <\/span>Near fine condition.<\/p>\n

Life<\/i>, September 1, 1967.\u00a0 <\/span>Softcover, 13 \u00bd x 10 \u00bd inches, 68 pages, halftone illustrations (most in color).\u00a0 <\/span>Includes the cover article \u201cThe Great Poster Wave: Expendable Graphic Art Becomes America\u2019s Biggest Hang-Up\u201d which runs to eight pages.\u00a0 <\/span>It presents individuals buying posters at San Francisco\u2019s Print Mint shop, hanging them in their pool room, plus images of the artists Victor Moscoso, Rick Griffin, Wes Wilson, Stanley Mouse, and Peter Max, each seen with examples of their work.\u00a0 <\/span>Normal wear and mailing label. \u00a0Pair: $35<\/p>\n

129.\u00a0 <\/span>POSTERS.<\/b>\u00a0 <\/span>Mouse & Kelley<\/i>, New York: Dell, 1979.\u00a0 <\/span>Softcover, 11 \u00bd x 8 \u00bd inches, 128 pages, halftone illustrations (most in color).<\/p>\n

An overview of the psychedelic artwork of the San Francisco collaborative team of Stanley Mouse and Alton Kelley.\u00a0 <\/span>It includes their most accomplished work\u2014that of concert posters (primarily for the Avalon Ballroom and Fillmore Auditorium) and album covers, from the 1960s and seventies, most notably for the Grateful Dead.\u00a0 <\/span>Also featured are collages and t-shirt designs.\u00a0 <\/span>Essay by Dominy Hamilton and short biographies.\u00a0 <\/span>Cover unglued, tiny edgewear.\u00a0 <\/span>$35<\/p>\n

130.\u00a0 <\/span>POSTERS.<\/b>\u00a0 <\/span>D. Scott Atkinson and others.\u00a0 <\/span>High Societies: Psychedelic Rock Posters of Haight-Ashbury<\/i>, San Diego Museum of Art, 2001.\u00a0 <\/span>Softcover, 11 \u00bd x 8 inches, 90 pages, halftone illustrations (most in color), dustjacket.<\/p>\n

An intelligent investigation of the psychedelic posters that advertised dance-concerts during the late 1960s, primarily at San Francisco\u2019s Avalon Ballroom and Fillmore Auditorium.\u00a0 <\/span>Curator Atkinson provides historical antecedents in Japanese woodblock prints and French Art Nouveau posters by the likes of Henri de Toulouse-Lautrec.\u00a0 <\/span>Sally Tomlinson covers the scene around the Bay Area\u2019s 1967 Summer of Love and delineates the five leading poster designers: Wes Wilson, Alton Kelley, Stanley Mouse, Victor Moscoso, and Rick Griffin.\u00a0 <\/span>This nicely produced publication ends with a fully illustrated catalog of the accompanying exhibition, with commentary by poster expert Walter Medeiros.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$35 <\/b><\/p>\n

131.\u00a0 <\/span>POSTERS.<\/b>\u00a0 <\/span>D. Scott Atkinson and others.\u00a0 <\/span>High Societies: Psychedelic Rock Posters of Haight-Ashbury<\/i>.\u00a0 <\/span>Cardboard box, 12 \u00bc x 9 \u00bd x 1 \u00bd inches, exhibition catalog, CD, VCR tape, folder, with ephemera.<\/p>\n

This is the prospectus for the traveling exhibition described in the entry above.\u00a0 <\/span>An unusually elaborate item, with a copy of the catalog, a VCR tape showing the installation at San Diego and a CD of the show\u2019s audio tour, narrated by none other than Jefferson Airplane singer Grace Slick.\u00a0 <\/span>The very full folder includes a letter, fact sheet, press release, checklist, copies of press coverage, and sample tickets, invitations, and brochures for the showing in San Diego.\u00a0 <\/span>Undoubtedly produced in a small number and not available to the general public, this rare item is for the series collector.\u00a0 <\/span>Tiny wear to box.\u00a0 <\/span>$250<\/p>\n

132.\u00a0 <\/span>SCREEN PRINTING.<\/b>\u00a0 <\/span>Harry L. Hiett, Screen Process Production<\/i>, Cincinnati: Signs of the Times Publishing, 1936.\u00a0 <\/span>Hardcover (black-stamped orange cloth), 9 \u00bc x 6 inches, 256 pages, halftone illustrations.<\/p>\n

This is a comprehensive book on the screen process at the time, written by an expert in the field.\u00a0 <\/span>Hiett presents nearly 50 chapters and includes an appendix of twenty important relevant American patents.\u00a0 <\/span>Near fine condition.\u00a0 <\/span>$25<\/p>\n

133.\u00a0 <\/span>SOVIET CERAMICS.<\/b>\u00a0 <\/span>Nina Lobanov-Rostovsky, Revolutionary Ceramics: Soviet Porcelain, 1917-1927<\/i>, New York: Rizzoli, 1990.\u00a0 <\/span>Hardcover (gold-stamped blue paper over boards), 10 x 10 inches, 160 pages, halftone illustrations (most in color), dustjacket.<\/p>\n

\u201cThe manufacture of beautiful ceramics for the elite was well established in pre-revolutionary Russian, and in the wake of the Bolshevik victory, Lenin instructed the revolutionaries to use the stocks of blanks they found in the Imperial Porcelain Factory for the dissemination of pro-revolutionary propaganda.\u00a0 <\/span>The results, lively, strong designs for objects as diverse as chess sets and inkstands, as well as the more usual cups and plates, provide vivid evidence of the changing mood of the times.\u201d\u00a0 <\/span>Mint condition, in shrink wrap.\u00a0 <\/span>$35<\/p>\n

134.\u00a0 <\/span>WISCONSIN.\u00a0 <\/span><\/b>Anne Foote and Elaine Smedal, Decorative Art in Wisconsin: A Portfolio of Serigraphs<\/i>, Madison, Wisconsin: Screen Art Company, 1948.\u00a0 <\/span>Folder, 14 x 11 inches, folded sheet and 15 screen-printed plates.<\/p>\n

Produced during a revival of handicraft arts in the United States, this portfolio focuses on activity in the Diary State.\u00a0 <\/span>It features actual silk-screen prints based on three-dimensional objects such as a Chippewa buckskin pouch, Norwegian wooden basket, Polish Easter egg, Bohemian prayer book, Swiss plate, and a Winnebago blanket.\u00a0 <\/span>Tiny wear to covers.\u00a0 <\/span>$50<\/p>\n

While my main focus is photography books, I have a small inventory of titles in other areas, primarily art and related subjects.\u00a0 <\/span>In this catalog, the general Art section addresses primarily the twentieth century, with books on movements such as Surrealism and individuals, from Josef Albers to Andy Warhol.\u00a0 <\/span>Next comes Architecture, with original photographs by the likes of Berenice Abbott and Eugene Atget, publications on museums, castles, and other structures, individuals such as the English photographer Frederick H. Evans, and, of course, architects like Frank Lloyd Wright.\u00a0 <\/span>The small Arts & Crafts Movement grouping includes general titles as well as those on communities such as Rose Valley and figures like Elbert Hubbard of the Roycroft industries.\u00a0 <\/span>Lastly, the Design section features books on industrial design, psychedelic posters, modernist objects, and other topics. \u00a0 \u00a0<\/span><\/p>\n

All items are subject to prior sale.\u00a0 <\/span>Customers known to me will be invoiced.\u00a0 <\/span>Others add shipping ($5 for each book within the U.S.) and write your check to \u201cChristian Peterson.\u201d\u00a0 <\/span>Books may be returned within ten days, with prior notice and if received in the condition sent.\u00a0 <\/span>I am always interested in hearing about specific books, photographers, or topics that you are seeking, and also any items you may wish to sell.<\/p>\n

Catalog 14
\nJanuary 2017<\/p>\n","protected":false},"excerpt":{"rendered":"

ART \u2014\u00a01-31 ARCHITECTURE \u2014\u00a032-96 ARTS & CRAFTS MOVEMENT \u2014\u00a097-110 DESIGN \u2014\u00a0111-134 ART 1.\u00a0 ALBERS, Josef.\u00a0 Formulation: Articulation, New York: Harry N. Abrams, 1972.\u00a0 Folder, 15 x 40 inches, 2 screen prints, with printed sheet. This is the prospectus for a set of two portfolios of the same title, which contained 66 such folders.\u00a0 This folder […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"_links":{"self":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/288"}],"collection":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/comments?post=288"}],"version-history":[{"count":1,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/288\/revisions"}],"predecessor-version":[{"id":581,"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/pages\/288\/revisions\/581"}],"wp:attachment":[{"href":"https:\/\/christianapeterson.com\/wp-json\/wp\/v2\/media?parent=288"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}