[Automobile Design and Advertising]Biblio.com
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réf. 158941Detroit MI: General Motors 1980. Substantial archive of over 750 General Motors GM design assembly and advertising photographs 23 contact sheets of vehicles and parts photographs and 100 print advertising proofs and mockups from the Chevrolet Motor Division of General Motors dating from 1973 through 1980. Nearly all the materials in the archive are overlaid with Campbell Ewald Advertising Agency watermarks or bear GM Photographic stamps on the bottom margins or versos. Materials also frequently note catalog numbers and dates in manuscript pencil and ink. Detailed inventory and additional images available upon request. Please contact us directly. A vast and insightful archive of distinctly 1970s GM automotive design and marketing. The photographic prints in the archive include approximately 550 photographs and design renderings of vehicles parts and accessories as well as emblems and logos with material relating to the Bel Air Camaro Caprice Chevelle Chevette Citation Impala Malibu Monte Carlo Monza Nova and Vega models. Of particular note are 100 proofs and mockups for print advertisements for various Chevrolet vehicles markedly reflecting the era's fuel crisis and imposing international compact car market. Photographs largely 11 x 8.5 inches with some photographs 10 x 8 inches. Advertising proofs and mockups are all on standard letter-size paper. Near Fine overall with some light edgewear and light creasing at the corners. General Motors unknown
réf. 158941Detroit MI: General Motors 1980. Substantial archive of over 750 General Motors GM design assembly and advertising photographs 23 contact sheets of vehicles and parts photographs and 100 print advertising proofs and mockups from the Chevrolet Motor Division of General Motors dating from 1973 through 1980. Nearly all the materials in the archive are overlaid with Campbell Ewald Advertising Agency watermarks or bear GM Photographic stamps on the bottom margins or versos. Materials also frequently note catalog numbers and dates in manuscript pencil and ink. Detailed inventory and additional images available upon request. Please contact us directly. A vast and insightful archive of distinctly 1970s GM automotive design and marketing. The photographic prints in the archive include approximately 550 photographs and design renderings of vehicles parts and accessories as well as emblems and logos with material relating to the Bel Air Camaro Caprice Chevelle Chevette Citation Impala Malibu Monte Carlo Monza Nova and Vega models. Of particular note are 100 proofs and mockups for print advertisements for various Chevrolet vehicles markedly reflecting the era's fuel crisis and imposing international compact car market. Photographs largely 11 x 8.5 inches with some photographs 10 x 8 inches. Advertising proofs and mockups are all on standard letter-size paper. Near Fine overall with some light edgewear and light creasing at the corners. General Motors unknown books
1918réf. 25017April 1918. Unique. As accomplished; tacked into a frame easily removed. Very good; some buckling. Excellent color. 17 1/4 x 23 1/4 inches painted surface. Gouache on paper board. The original art for the Year of the Child poster. Signed by Mora. The "year of the child" was declared by Woodrow Wilson to be 1918. This the result of the failure rate of recruits to the armed services in their medical examinations. Wilson's declaration was the first step in efforts to improve the health of the public and especially young men. The execution fell to the US Children's Bureau and Woman's Committee of the Council of National Defense. The Bureau was established in 1912 to " . investigate and report upon all matters pertaining to the welfare of children and child life among all classes of our people and shall especially investigate the questions of infant mortality the birth rate orphanage juvenile courts desertion dangerous occupations accidents and diseases of children ." It became a center for public health initiatives. The Council was established in 1916 to coordinate resources and industries for the war effort. Numerous subordinate agencies and committees were formed. Evolving out of the National American Woman Suffrage Association the Woman's Committee - in structure and resource - was almost pre-formed. As a result it was very effective in marshalling the clubs and associations of women across the nation to further Wilson's purpose. Pursuant to this Francis Luis Mora designed this poster to advertise the bureau the poster was issued with modified text well into the 1930s - see LC website for the entry as well as poster work for the bond campaigns for the Liberty Loan boards under the direction of the Committee for Public Information. He was a well established artist and illustrator before and after WWI with numerous public and private commissions. unknown books
réf. OB557London: William Pickering 1843 Chiswick: C. Whittingham. Hard Cover. Volume One only of two: 38 color plates; 29 cm. Added title-page: Dresses and Decorations of the Middle Ages from the Seventh to the Seventeenth Centuries. With descriptions by Thomas Wright. The plates are hand-colored copper and polychrome wood engravings. Shaw's most ambitious work described by Ruari McLean as having "a considerable claim to be called the most handsome book created in the whole of the nineteenth century." Victorian Book Design p. 48. Ray 102. This copy has the bookplate of actor Edwin Booth 1833-1893 with his signed inscription to Jervis McEntee 1828-1891 a landscape painter of the Hudson Valley School and Booth's friend of many years. It was Booth's gift in anticipation of a commission for McEntee to paint portraits of the actor in his famous roles. This copy loaned to Historic Kingston featured in a McEntee exhibition and was noticed in a New York Times review. Alice Beckwith Victorian Bibliomania n. 38. Stock#OB557 oversize. Some foxing; rebound in half leather; good. London: William Pickering, 1843 (Chiswick: C. Whittingham) hardcover
1930réf. 4317Chicago: Beardslee Chandelier Manufacturing Company 1930. No Binding. Very Good. Chicago 1930s A remarkable archive of 52 original designs for light fixtures executed in watercolor ink and graphite on heavy card stock. Most sheets measure approximately 20 × 13 inches with one large folding drawing included. Each design bears the distinctive Beardslee blindstamp. Some sheets show minor surface smudging and light edge wear consistent with age and use. The Beardslee Chandelier Manufacturing Company based in Chicago Illinois was a leading producer of high-quality gas and electric light fixtures in the early 20th century. The company originated as the W.S. Edwards Manufacturing Co. but in 1901 under the leadership of George Murray Beardslee b. 1868 it was renamed and expanded its operations. Beardslee who had joined the firm in 1890 served as both treasurer and vice president. Rogers Park/West Ridge Historical Society HistoryWiki One of Beardslee's key designers was Anton Dvorak b. 1888 a graduate of both the Chicago Institute of Art and the Lewis Institute of Chicago. Dvorak began his career at the Chicago Gas and Electric Fixture Co. 1904-1914 before joining Beardslee where he eventually became vice president. Between 1921 and 1930 he filed six patents with the U.S. Patent Office contributing significant innovations in lighting design. Encyclopedia of Bohemian and Czech-American Biography Vol. 1 Miloslav Rechigl Jr. Beardslee specialized in stylish yet affordable lighting fixtures for banks churches retail stores and offices. By the mid-1920s the firm had earned a national reputation described as "one of the largest and best known lighting equipment companies in the Midwest." Wisconsin Rapids Daily Tribune September 30 1925 This collection reflects the elegance and precision of Art Deco design. Each drawing is meticulously labeled with a model number and scale and many include notes specifying their intended installation locations-such as "2nd hall" "men's room" "civic room" "safe deposit" "main stairs" "main lounge" and "parlour." The set may have been commissioned for a major architectural project possibly the Biltmore Hotel in Oklahoma City. Beardslee Chandelier Manufacturing Company unknown
1938réf. 55160МоÑква Moscow: Музеиа-Ð’Ñ‹Ñтавки Охраны МатеринÑтва и МладенчеÑтва Museums and Exhibitions of Motherhood and Childhood Protection 1938. First edition. Hardcover. g to vg-. Folio. Unpaginated 113 double-sided leaves. Original blue cloth with gilt lettering and yellow circular embossed bas-relief on the front cover designed by Anna Yuzhakova. Spine with blind-stamped illustration and lettering. Binding protected in modern mylar. Housed in its original blue cloth slipcase with a circular windowed cutout for the bas-relief. Photo-illustrated endpapers. The title page is a double-page spread with modernist typography and title text appearing in 10 additional languages including Ukrainian Belorussian Bulgarian Armenian Georgian Turkmen Azerbaijani Uzbek and others. Following the title page are four pages of introductory text and then a fold-out with woodcut illustrations in black by Nikolai Piskarev 1892-1959 showing images of the Russian revolution revealing photographic portraits of Lenin and Stalin when opened. The work is profusely illustrated throughout with countless photographic images beautifully printed in b/w and sepia-toned gravure. The book's overall design and layout was the work of Yakov Babushkin b.1907 which displays a wide variety of artistic and conceptual flourishes. Throughout the book are many smaller half-width multipage inserts artistic insets and fold-outs as well as extensive photomontages and large double-page spreads. Final leaf contains extensive contributor's credits. The publication features the work of a long list of contributors including noted photographers such as Olga Ignatovich 1905-1984 and Elizaveta Ignatovich 1903-1983 - both sister of pioneering Soviet photographer and photojournalist Boris Ignatovich cinematographer and filmmaker Alexander Frolov 1904-1962 and Solomon Tules among many others. This lavishly produced piece of Soviet photo-propaganda praising the state's maternity and child-care institutions and services. Published on the 20th anniversary of the establishment of the department for the Protection of Motherhood and Infancy Okhrana Materinstva i Mladenchestva or OMM the book showcases the state's initiatives to support mothers and and their young children in the and promote the importance of Motherhood as a vital role within Soviet society. Documented are women's centers hospitals early childhood education and summer camps among countless other state-controlled entities from across many different republics of the Soviet Union Russia Ukraine Belarus Georgia Azerbaijan Armenia Kazakhstan Kyrgyzstan Uzbekistan and Tajikistan. The work one of 5 notable Soviet photo-books issued between 1933 and 1938 focussing on women and women's issues in the USSR. Binding with light bumping and rubbing to extremities including some light abrading to the very bottom of the front cover. Interior with starting at the interior front cover. Sporadic light staining to the endpapers and interior covers. Persistent light stain along the bottom of the book block visibly affecting the bottom of most pages throughout. Images are otherwise still mostly clean and vibrant. Binding fairly tight overall. Binding and interior in good to very good- condition overall. Scarce. Bibliographic reference: Heiting and Karasik The Soviet Photobook 1920-1941 p. 380. A scarce work with only 6 known copies woldwide on OCLC. Музеиа-Ð’Ñ‹Ñтавки Охраны МатеринÑтва и МладенчеÑтва (Museums and Exhibitions of Mother hardcover
1938réf. 55160МоÑква Moscow: Музеиа-Ð’Ñ‹Ñтавки Охраны МатеринÑтва и МладенчеÑтва Museums and Exhibitions of Motherhood and Childhood Protection 1938. First edition. Hardcover. g to vg-. Folio. Unpaginated 113 double-sided leaves. Original blue cloth with gilt lettering and yellow circular embossed bas-relief on the front cover designed by Anna Yuzhakova. Spine with blind-stamped illustration and lettering. Binding protected in modern mylar. Housed in its original blue cloth slipcase with a circular windowed cutout for the bas-relief. Photo-illustrated endpapers. The title page is a double-page spread with modernist typography and title text appearing in 10 additional languages including Ukrainian Belorussian Bulgarian Armenian Georgian Turkmen Azerbaijani Uzbek and others. Following the title page are four pages of introductory text and then a fold-out with woodcut illustrations in black by Nikolai Piskarev 1892-1959 showing images of the Russian revolution revealing photographic portraits of Lenin and Stalin when opened. The work is profusely illustrated throughout with countless photographic images beautifully printed in b/w and sepia-toned gravure. The book's overall design and layout was the work of Yakov Babushkin b.1907 which displays a wide variety of artistic and conceptual flourishes. Throughout the book are many smaller half-width multipage inserts artistic insets and fold-outs as well as extensive photomontages and large double-page spreads. Final leaf contains extensive contributor's credits. The publication features the work of a long list of contributors including noted photographers such as Olga Ignatovich 1905-1984 and Elizaveta Ignatovich 1903-1983 - both sister of pioneering Soviet photographer and photojournalist Boris Ignatovich cinematographer and filmmaker Alexander Frolov 1904-1962 and Solomon Tules among many others. This lavishly produced piece of Soviet photo-propaganda praising the state's maternity and child-care institutions and services. Published on the 20th anniversary of the establishment of the department for the Protection of Motherhood and Infancy Okhrana Materinstva i Mladenchestva or OMM the book showcases the state's initiatives to support mothers and and their young children in the and promote the importance of Motherhood as a vital role within Soviet society. Documented are women's centers hospitals early childhood education and summer camps among countless other state-controlled entities from across many different republics of the Soviet Union Russia Ukraine Belarus Georgia Azerbaijan Armenia Kazakhstan Kyrgyzstan Uzbekistan and Tajikistan. The work one of 5 notable Soviet photo-books issued between 1933 and 1938 focussing on women and women's issues in the USSR. Binding with light bumping and rubbing to extremities including some light abrading to the very bottom of the front cover. Interior with starting at the interior front cover. Sporadic light staining to the endpapers and interior covers. Persistent light stain along the bottom of the book block visibly affecting the bottom of most pages throughout. Images are otherwise still mostly clean and vibrant. Binding fairly tight overall. Binding and interior in good to very good- condition overall. Scarce. Bibliographic reference: Heiting and Karasik The Soviet Photobook 1920-1941 p. 380. A scarce work with only 6 known copies woldwide on OCLC. Музеиа-Ð’Ñ‹Ñтавки Охраны МатеринÑтва и МладенчеÑтва (Museums and Exhibitions of Mother hardcover books
réf. 125254Qajar Persia last quarter of 19th century. . One bifolium illuminated manuscript on paper in Persian approx. 310 x 385mm; single column 8 lines elegant and bold nasta'liq script text page to reverse of one leaf with 15 lines elaborately painted polychrome & gilt border designs extending outwards into the margins form the text-blocks a few closed tears to edges of paper some chips to extremities in modern mount. Lovely survival of a magnificently illuminated border design from an unidentified Persian manuscript in a large paper format and intricately painted to a very high quality. Qajar Persia, last quarter of 19th century. unknown
réf. 10427Berkeley CA: Editions Koch 2003. Full Leather. Fine binding. Folio. 44 pp. frontis plates. Limited edition one of 120 copies this copy out of series; there are also 26 lettered deluxe copies with a suite of 10 engravings. All are signed by Bringhurst Wagener and Peter Koch at the colophon. Bound by Camille Botelho in black box calf with inlays and onlays of dyed calf vinyl snakeskin painted paper mylar laminates and a porcupine quill; hand embroidered endbands; vinyl snakeskin doublures. A fine copy in clamshell box. True to form Peter Koch has produced a marvelous edition of what remains of Parmenides's poem "On Nature." The fragments of the poem are rendered in this opposite page bilingual edition with the Greek on the left and Bringhurst's English translation on the right. The poetry is brilliantly accompanied by Wagner's striking engravings a frontispiece and 4 additional wood engravings in red and orange. Given it survives only in fragments there is some debate as to the "meaning" of the symbolism of Parmenides's poem making it a work ripe for interpretation. But at base his view of reality is one of stasis unchangeable. And while that enduring Greek logic marks the work Wagener introduces remarkably abstract and kinetic illustrations printed in an urgent deep red and orange-projecting anything but stasis. It is the discord between the logical understanding or reality and the emotional understanding of it that spoke to Botelho and informed her design of this incredible binding. She writes: "In the design I thought of Parmenides looking out past shadowy arches from within a dark room to find total chaos beyond. The curve of the Mylar inlay and the curve of the porcupine quill mimic a column marking a threshold beyond which is uncontrolled noise and movement and mess. I wanted the disparity between the smoothness of the box calf and the chaos of the inlays and yellow foiling to be a comment on how frightening examining one's reality can be." Magnificently achieved Botelho has created an exceptional binding that bridges Parmenides and Wagener giving voice to the paradox she sees in this metaphysical conversation on the nature of reality. Editions Koch unknown
1927réf. 9186New York: Printed by William Edwin Rudge for the Grolier Club 1927. Full Leather. Very Good binding. Quarto. 6 xxiii 1 208 2 pp. illus. Limited edition one of 390 copies. This copy bound by Don Glaister in full crimson goatskin with typographic design referencing Rogers's type design throughout the volume-a stylized A on the front cover and Z on the rear tooled in blind and gold transitioning to painted lines. Glaister employs slightly raised and recessed areas beneath the leather with occasional light sanding all to offer subtle dimensionality a suggestive nod to the raise aspects of type. Crimson cork endpapers gold and crimson silk headbands accent the original gold top-edge. Signed in blind on the rear pastedown with date and gold dot "Donald Glaister 2025." Fine in clamshell. This edition designed by Bruce Rogers is the first English translation of Tory's landmark work begun in 1523 and published 1529. Tory's influence on 16th century typography was immeasurable-moving French printing away from gothic types towards the roman faces a movement that would define modern typography. D. B. Updike calls Tory's Champ Fleury "one of the important books in the history of letter design" I p. 188. A beautiful edition that took decades for Rogers to bring from a proposal to the Grolier Club to a printed edition. And of all he designed it was among Rogers's favorite #24 in BR Thirty. Tory's groundbreaking and forward-looking work had long been a classic text by the time Rogers designed this edition 400 years later. Now 100 years further on Glaister adds his voice to this typographic tradition and in his distinct style takes these now-classic letterforms and nudges them into modernity. Haas 413. Grolier 361. Updike Daniel Berkeley. Printing Types. 3rd ed. 1966. Printed by William Edwin Rudge for the Grolier Club unknown
1920réf. 186580Tokyo: Rinshikin Shukai 1920-34. A collection of over 1300 examples A vibrant collection of pre-war matchbox labels produced by the Rinshikin Shukai Japan's first society for matchbox collectors. The bold designs show kabuki actors geisha Buddhist deities baseball players famous ukiyo-e prints vistas of capital cities and even wartime propaganda. This album opens with 100 labels on untrimmed sheets each one submitted by an individual member of the Rinshikin Shukai. The labels are then divided into sets. Many are after famous prints by the likes of Kitagawa Utamaro and Sharaku but the majority are fresh designs. One charming set is titled "Sports in the Afterlife" and shows silver skeletons playing a variety of sports. The wartime examples depict cartoon soldiers firing missiles piloting aircraft and wading through rivers. One set commemorates the "Three Brave Bombers" a group of soldiers lionized for breaking through the Chinese lines during the Shanghai Incident and setting off suicide bombs. The Rinshikin Shukai was formed in 1903 by Fukuyama Hekisui 1876-1934 for those interested in collecting designing and distributing matchbox labels. In 1907 it held a sponsored display at the Tokyo Industrial Exhibition where thousands of labels designed by Hekisui were distributed. Over the following 30 years Hekisui's personal collection grew to exceed 200000 examples designed by prominent members such as Furuya Rankei Hasegawa Giichiro Ogawa Saku and Oda Shuichi. Upon his death in 1934 the society produced a commemorative label that is pasted at the front of this album. Quarto concertina-style. With 1323 colour woodblock matchbox labels 60 x 42 mm to 117 x 78 mm 100 on tipped-in and untrimmed sheets 2 loosely inserted 10 letterpress labels mounted on recto and verso of 26 leaves 2 sides blank; many printed on mica-speckled paper text in Japanese. Original brown thick card boards original manuscript paper label on front board. Labels bright a couple with loss a few seemingly missing boards rubbed 2 joints repaired with Japanese tissue: a well-preserved collection. hardcover
réf. 9402New York: Caliban Press 2020. Full Leather. Fine binding. Tall octavo. 3 blanks 44 2 prospectus 3 blanks ll. Limited edition number 5 of 100 copies signed by McMurray. Originally issued by McMurray in a spiral binding with heavy printed wrappers; the printer notes that this was "printed on various scrap papers found at Caliban Press over time. Canada China England France Germany India Japan Mexico Nepal and Spain are all represented-including Papeterie St-Armand." It includes fold-outs a volvelle and slide-outs. This copy is finely bound by Donald Glaister in full goat skin with onlays of laminated mylar and sanded and painted aluminum on the front and back boards. There are also recessed areas on both boards with acrylic painted lines at some perimeter edges. Polished top-edge with silk endbands; painted cork endpapers. The leaves original covers and prospectus have been mounted on guards with a portion of the perforations from the spiral binding still visible with intention a way in which Glaister is engaging with McMurray's style and playfulness that present throughout this specimen book. Even the clamshell box holding the book has a compartment containing the original red spiral a toy begging to be played with. McMurray describes this type specimen of numerals as a way to document a collection of more than 4 dozen cases and around 75 fonts. It became evident that a complete catalogue was far too expansive for a single volume so this the first volume was just numerals. Far from a straightforward specimen book McMurray's playfulness and humor engage the viewer throughout. And engaged Glaister in his design. He writes in his artist's statement: "Mark McMurray has compiled a wonderfully designed collection of families of numbers from his collection. The is almost without words only numbers . . . The design for the binding is as simple and as complicated as the binary system. A '1' and a '0' on each cover is all there is. However these numbers are presented differently subtly richly and with great care as to their design and positions. These forms and qualities are a mirror of the text within." A wonderful book beautifully bound by one of the premier designer bookbinders in the country. Caliban Press unknown
1927réf. 1751Paris: I. Grodzensky 1927. First edition. Text in French and Yiddish. In publisher’s wrappers bound by string. Cover design by Marc Chagall. Cover and plates are worn at extremities. Cover and some plates damaged at corners and at the string. Two photographic reproductions are loose. Overall in good condition. First edition. Text in French and Yiddish. In publisher’s wrappers bound by string. Cover design by Marc Chagall. 4 text plates and 19 album card plates with mounted photographic reproductions. Scarce book with Chagall’s cover design. With Marc Chagall’s image on the front cover. Before a black background the image features an opened Torah scroll with the inscription of Schwartzbard's name in Hebrew letters an angel with sword flies over the Torah an allusion to Michael the Archangel the advocate of the Jews. A scarce album with pictures of places and portraits of people connected with the Schwartzbard-trial together with short expressions of opinion from prominent intellects as well as brief biographical notes on Schwartzbard and Petliura. Sholom Schwartzbard 1886–1938 was a Russian-born French Yiddish poet and anarchist the assassin of Symon Petliura 1879–1926 head of the Ukrainian government-in-exile in Paris in 1926. Schwartzbard held Petliura responsible for the death of fifteen of his relatives murdered in pogroms during Petliura rule of the Ukrainian National Republic. The number of Jews murdered during the massive 1918–1921 pogroms in Ukraine is estimated to be between 35000 and 50000 and a large percent of the violent attacks were carried out by soldiers under Petliura’s command. The Schwartzbard trial began in mid-October 1927 lasted for eight days in the end it turned on accusations of Petliura's responsibility for the pogroms and eventually Schwarztbard was acquitted. Scarce we could trace only 3 copies in institutional holdings Harvard University Widener Library Cambridge MA USA; NLI Jerusalem; Musée d’art et d’histoire du Judaïsme Paris. . [I. Grodzensky] unknown
réf. 36848Easthampton MA: Cheloniidae Press 1990. Hardcover. Fine. Hardcover. Number 21 of 100 xxi/c copies in the deluxe edition signed and numbered by illustrator and book designer Alan James Robinson. There were also 26 copies bound in quarter leather. This magnificent book was undertaken by the press as a celebration of its tenth anniversary. It is one of the great achievements of Robinson's Cheloniidae Press one of the most respected American private presses. Founded in 1979 the press went through several incarnations during its existence. The constant throughout was the artistry of Alan James Robinson who became famed for his superlative wood engravings and etchings of animals birds the sea and more. The original text for this edition was written by Arthur F. Kinney who was then the Thomas W. Copland Professor of Literary History at the University of Massachusetts and an extensive publisher and lecturer on Shakespeare. From the prospectus: this book "focuses on popular bird and animal lore and the way Shakespeare turns it into lines of haunting and indelible beauty by describing the familiar and unfamiliar ideas about many creatures and by showing how Shakespeare used these ideas to shape character and plot in his plays.Shakespeare's imaginative use of observed detail and magical fantasies is matched by the intricate and mysterious wood engravings of Robinson." Beautifully bound by noted binders Claudia Cohen and Sarah Creighton in full rust morocco with the title stamped in gilt on the front panel within a blind rule at the outer edge of the covers raised bands and leather hinges. Illustrated with 54 wood engravings depicting the birds and beasts found in Shakespeare's plays and poems plus two portraits of the Bard: one etching and one wood engraving. The book is accompanied by an additional suite of 56 signed and numbered prints from the illustrations. There is also an original watercolor of a Barnacle goose that is not known or called for in the prospectus. They are housed in a linen covered portfolio. The prospectus is also included. There are beautiful hand marbled endpapers by Faith Robinson. The book was printed on special Cheloniidae Rag paper carrying the press watermark that is the exact size of the First Folio of 1623. The type is Centaur and Arrighi set by M&H Type in San Francisco with additional hand composition by Arthur Larson. The book was letter press printed by master printer Harold Patrick McGrath. Housed in a custom clamshell box in near fine condition covered with beige linen with a brown leather spine label. The book is In fine condition. Book is 10.5 x 16 inches. Box is 11 x 17 inches. iv 87 single fold pages. PRI/102423. Cheloniidae Press hardcover books
1965réf. 122002N.p.: N.p. 1965. A dazzling collection of ten original pressbooks designed by Saul Bass documenting the majority of the famed title and ad designer's work with director Otto Preminger in the 1950s 60s and 70s. Several of the pressbooks defy the conventions of pressbook design with custom shapes to represent items in keeping with the films for which they were made: "Advise and Consent" resembles a briefcase "In Harm's Way" is designed as a dossier with a string tie "The Cardinal" as a parcel and "Bunny Lake is Missing" as a newspaper. Other key titles in the collection include "Anatomy of a Murder" "Bonjour Tristesse" "Exodus" and "The Man with the Golden Arm." For most of the pressbooks in this collection we have never seen another example. A fascinating example of the advertising work done by the premiere title and ad designer of the twentieth century. Various sizes ranging from Very Good to Near Fine condition. Complete details available on request. N.p. unknown
1965réf. 122002N.p.: N.p. 1965. A dazzling collection of ten original pressbooks designed by Saul Bass documenting the majority of the famed title and ad designer's work with director Otto Preminger in the 1950s 60s and 70s. Several of the pressbooks defy the conventions of pressbook design with custom shapes to represent items in keeping with the films for which they were made: "Advise and Consent" resembles a briefcase "In Harm's Way" is designed as a dossier with a string tie "The Cardinal" as a parcel and "Bunny Lake is Missing" as a newspaper. Other key titles in the collection include "Anatomy of a Murder" "Bonjour Tristesse" "Exodus" and "The Man with the Golden Arm." For most of the pressbooks in this collection we have never seen another example. A fascinating example of the advertising work done by the premiere title and ad designer of the twentieth century. Various sizes ranging from Very Good to Near Fine condition. Complete details available on request. N.p. unknown books
1916réf. 143509N.p.: N.p. 1916. Vintage Swiss one sheet lithograph poster made to promote the 1916 opening of Speck's Orient-Cinema in Zurich during the heart of the silent film era. Designed and illustrated by costume and commercial designer Ernst Deutsch-Dryden. The poster's illustration portrays well-dressed clientele watching a Western movie likely meant to represent a US import. During this period there was a push in Zurich as in all large European and American cities to build lavish new cinemas to accommodate the constantly growing public demand for films and elegant movie houses in which to view them. 27 x 39 inches. Linen backed with no extra linen borders with slight restoration at the folds and edges. Archivally framed with UV plexi. N.p. unknown
1916réf. 143509N.p.: N.p. 1916. Vintage Swiss one sheet lithograph poster made to promote the 1916 opening of Speck's Orient-Cinema in Zurich during the heart of the silent film era. Designed and illustrated by costume and commercial designer Ernst Deutsch-Dryden. The poster's illustration portrays well-dressed clientele watching a Western movie likely meant to represent a US import. During this period there was a push in Zurich as in all large European and American cities to build lavish new cinemas to accommodate the constantly growing public demand for films and elegant movie houses in which to view them. 27 x 39 inches. Linen backed with no extra linen borders with slight restoration at the folds and edges. Archivally framed with UV plexi. N.p. unknown books
1960réf. 7086Larkspur CA: Wallace Berman 1960. First Edition. Complete copy of the sixth issue of Berman's iconic assemblage zine dedicated entirely to David Meltzer's 13-part poem "The Clown." Berman illustrated the title leaf and designed the photographic collage on the cover of the portfolio featuring four images of his Larkspur landlady and Sausalito gallery owner Phyllis surrounding an image of the Semina Gallery. Semina Culture p.62. One of 335 copies. Slim octavo 21cm; photo-illustrated card portfolio with 14 handpress-printed loose sheets held in a pocket mounted to inner cover. Subtle toning to the edges of the 14 inserts else Near Fine. Portfolio is lightly edgeworn and dust-soiled with some faint scattered foxing and a few tiny tears; Very Good. Housed in a custom half-morocco clamshell case. Wallace Berman unknown
réf. 9594New Haven: Editions Wequetequock Cove 2006. Full Leather. Fine binding. Small folio 8.5" x 7". 32 pp. illus. Limited edition number 23 of 50 copies. Signed by Baltazar and Watsky. This copy sewn on meeting guards with silk endbands. Bound in dyed calf and finished with recessed stone veneer over sheep skiver dyed calf inlays and onlays as well as onlays in lizard. Subtly titled in blind across one of the onlays at the spine. Paper doublures with dyed calf hinges. Botehlo writes of this book being "filled with etchings of heavy lined and voluptuous shapes with textures and shade all done in black. The poetry evoked for me the verdancy of rogue plants that spring up between the cracks of concrete. It spoke of the appeal of being a snake allusions to original sin. I wanted the green onlays that have been dyed and embossed to be pillowed the stone inviting touch. I intended to create something that invites a sensory exploration." And here she has succeeded with astonishing grace creating a design that draws and keeps the attention. Wonderfully conceived and executed with exceptional skill. Botelho is among a select group of extraordinary design binders who are graduates from the American Academy of Bookbinding Fine Binding program. Editions Wequetequock Cove unknown
réf. 9573Monterey KY: Larkspur Press 2006. Full Leather. Fine binding. Octavo. 4 36 4 pp. Limited edition number 9 of 75 copies on Somerset Book paper there was also an edition of 500 regular copies. Signed by Wendell Berry at the colophon; additionally noted by Fox the year it was bound. In full goatskin binding with a series of leather onlays tooled in gold and blind all creating a fantastic pictorial binding. Accompanying the binding is a fine paper portfolio with publisher's prospectuses samples and associated material; additionally some templates related to Fox's binding. All housed a custom clamshell by Fox. The text offers a lens into the 19th century view of how a native of region assesses the value of the natural wonders. Berry's commentary at the end of Allen's text brings the troubling viewpoint into a modern context: "The chapter is built upon a division of mind which in our time has become terrifying but which Allen believed to be no more than a simple equation. On the one hand in a sentimentally romantic fashion he was sensitive to the natural life of the area which was then still intact. And on the other hand he seems eager for the destruction of this virgin bounty that so inspired him. I say 'the destruction' and not 'the use' for his language is patently that of an exploiter intent upon 'conquering' nature." A sobering volume that will most surely always remain relevant. Larkspur Press unknown
1901réf. 1717801901. NAKAMURA Gyokushu. Miyama no shiori. 2 volumes. 250 x 160 mm. Kyoto: Honda Unkido 1901. An exquisite collection of designs probably created as patterns for kimonos. In fine condition and extremely rare. Some of the plates have a distinctly modernist feel. There is some soiling but the stunning plates are immaculate. OCLC lists The National Diet Library and the Wolfsonian. unknown
1901réf. 1717801901. NAKAMURA Gyokushu. Miyama no shiori. 2 volumes. 250 x 160 mm. Kyoto: Honda Unkido 1901. An exquisite collection of designs probably created as patterns for kimonos. In fine condition and extremely rare. Some of the plates have a distinctly modernist feel. There is some soiling but the stunning plates are immaculate. OCLC lists The National Diet Library and the Wolfsonian. unknown books
1922réf. 1736Moscow: Der Shtrom The Moscow School for Yiddish Printers 1922. First edition. In publisher’s illustrated wrappers. Paper yellowed due to aging. Tiny inkblots on cover. Note in pencil on title page. Numeric notes between pp. 9–25. Three pinholes throughout at the gutter. Cover artistically restored. Overall in very good condition. Cover design by Marc Chagall. Cover design by Marc Chagall. First edition. In publisher’s illustrated wrappers. 80 p. The second number of the first Soviet Yiddish literary-cultural periodical featuring a cover designed by Marc Chagall. Shtorm was founded and edited by a literary and artistic group formed in Kiev of Yekhezkl Dobrushin Nokhem Oyslender and Arn Kushnirov and Dovid Hofshteyn. Six numbers were published in five issues between 1922 and 1924. Each cover featured the same illustration on the front by Marc Chagall. “Chagall used only the letters in the word Shtrom as illustrations which included a disembodied person on the »R« and a factory with a worker entering the building as part of the »Sh«” Shneer pp. 145–6. Bibl.: Shneer D.: Yiddish and the Creation of Soviet Jewish Culture: 1918–1930. Cambridge University Press 2004. . Der Shtrom, The Moscow School for Yiddish Printers unknown
1908réf. 884571908. DESIGN Sugiura HISUI designer. MITSUKOSHI; MITSUKOSHI TIMES; OSAKA MITSUKOSHI Tokyo & Osaka 1908-1923. Western-style magazines 24.9 x 18.4 cm decorated wrappers. Lovely covers most by Sugiura Hisui 1876-1965 or designed under his supervision. Hisui is the most important figure in the development of Japanese commercial art in the 20th century the progenitor of "Taisho Chic" and a force to be reckoned with as a practical designer at Mitsukoshi and an educator at the Japan School of Art the Imperial School of Fine Art and the Tama Imperial School of Art which he co-founded. He even spent two years in Europe in the early 20s researching design. He created many portfolios of design examples for professionals wrote treatises on the principles of design and was a tireless creator of posters and magazine covers. He began work at Mitsukoshi in 1908 as a design consultant in charge of cover art for the house organ MITSUKOSHI TIMES. When MITSUKOSHI magazine began in 1912 he had already been promoted to head of design for the company a year earlier and stayed in that position for decades. His artwork graced the covers of many magazines over the years but it was his work for MITSUKOSHI and MITSUKOSHI TIMES and OSAKA MITSUKOSHI that began his design career. We are offering here a group of issues of those magazines most with his brilliant cover art. The magazines as a form of trade catalog and guide to fashion for the well-heeled clientele of Mitsukoshi department store were intrinsically ephemeral. They are hefty magazines a vade mecum for the bon ton with pictures of summer frocks kimono fabrics morning coats shoes - with instructions on how they should be cleaned stored worn. With pictures and prices and order sheets. Useful and used then thrown away they are seldom found today. A gathering of this size is quite unusual especially as it begins with issues of MITSUKOSHI TIMES from 1908 - the year that Hisui took over design reponsibilities for the house organ. The issues: MITSUKOSHI TIMES 11 issues from 1908-13 Oct & Nov Meiji 41 1908; V.8 #s 4 & 6; V.10 #s 9 & 11; V.11 #s 4 7 11 & 14 V.12 #3. MITSUKOSHI 31 issues from 1912-1923 V.2 #4; V.4 #s 5 6 7 & 8; V.5 #s 4 5 7 & 8; V.6 #s 2 & 11; V.7 #s 6 7 & 8; V.8 #s 2 3 4 5 & 7; V.9 #s 4 5 6 7 9 & 12; V.10 #s 4 6 & 12; V.11 #11`; V.12 #3; V.13 #6. OSAKA MITSUKOSHI 2 issues V.4 #8 1915 a. unknown
