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The extremely rare, complete collection of 28 artists original graphics, the first signed edition before the second poster edition of 4000, with varying edition numbers including Artist's Proofs, from the total edition of 200, each hand signed and numbered or inscribed, 1969 - 1972, printed on varying papers, published by the Organising Committee for the Games of the XXth Olympiad and F. Bruckmann, Germany, with 2 additional screenprints of the Emblem by Victor Vasarely, 1972, signed from the edition of 200, on wove paper, each sheet, various measurements. 1020 x 640mm (40¼ x 25¼ inches).

In the 1960s, Country Joe McDonald (of Country Joe and The Fish) was one of the earliest and most vocal musical critics of the Vietnam War. This political commitment emerged from a family legacy of activism, but in this new context it brought him into the company of musical stardom, and his songs including ?Fixin? to Die Rag? became anthems of the movement. At every stage of his career, Country Joe saved posters, leaflets, and other ephemera of both the musical and political worlds, including concert posters of the psychedelic era (many signed by their creators) and leaflets and posters of the folk music scene. This collection, already notable for its breadth and spectacular contents, is supplemented by recordings, personal effects, and other artifacts of a life of commitment. It even includes his framed triple platinum record for his contribution to the Woodstock album (shown here held by Country Joe himself and Bolerium?s Will Smith). Many of Country Joe?s recordings are still the property of the recording companies with which he was working at the time. The materials in this archive, both written lyrics and recordings, include only those which are his own property. For anyone interested we can provide an Excel document listing the contents, as well as a link to a set of over 1,000 scans giving a sense of some of the spectacular material that is included in the collection. The entire collection fits on a set of 6x3 foot shelves six feet high.

No Binding. Etat : Fine. A coastal psychedelic dreamscape with the sun setting over the sea, a pool with lilies and a fountain shaped as a mermaid, three mountains, trees, flowers and plants and, over the sea, fireworks and stars. Watching over all this are an owl, a parrot and a peacock. Executed on paper (407 x 717mm) in enamel paints heightened in pen and ink. Two white panels (oval in the upper left corner and rectangular in the lower right) are left blank for text. Laid down on card with, on the reverse, a circular sticker depicting a sun and stars. Mounted on pine board on the back of which has been inscribed in red felt tip "To Hill. We Love you. Billy S. and fam. | xxxx | 87-67". Billy S is Ringo Starr who took the name Billy Shears in the fictional Sgt Pepper's Lonely Hearts Club Band and "Hill" is Hilary Gerrard, Ringo's manager. The gilt frame (1005x695mm), decorated with clouds, trees, rivers, flowers and mountains is conceived as a continuation of the painting. Affixed to the bottom of the frame is a small cloud-shaped brass plaque engraved "Original Cover Design for the Sgt. Pepper's Album by 'The Fool'". Apart from a small patch (25x3mm) at the bottom right corner of the frame where the gilt has worn off, the frame and the painting are in excellent condition. This original artwork, with its exceptionally rare signature of Ringo as "Billy Shears", is a unique piece of Beatles history. Sgt Pepper's Lonely Hearts Club Band is perhaps the most influential album in pop music history. It marked a conscious break with all that had gone before and represented nothing less than a rebirth for The Beatles. They had recently decided to stop touring and were keen to expand their work in more artistic and experimental directions. For three months before they gathered at Abbey Road to begin recording in December 1966, the four had gone their separate ways to rest or work on other projects. Ringo, characteristically, spent the time with his family; John acted and hung around art galleries where he met Yoko; George went to India to study the sitar with Ravi Shankar; and Paul took LSD for the first time. All these elements the art, the musical ambition, the psychedelics came together in Sgt. Pepper and the conceit of a fictional band dressed as multi-coloured Edwardians gave The Beatles the freedom to kick over the traces of their old selves and challenge themselves and their fans. What set Sgt Pepper apart was The Beatles' desire to create a unified artwork both musically and visually. In many ways, it is the first "concept" album and a critical part in that concept was the artwork of which this extraordinary painting was to be, quite literally, the central element. From an early stage, the album was conceived as a gatefold and this format was retained even when it became clear that there was not enough material for a double album. Peter Blake and Jann Haworth worked on the cover design, bringing Paul McCartney's initial sketches to fruition. But for the inner section of the gatefold, The Beatles approached one of the leading creators of psychedelic art. The Fool was a Dutch design collective formed in 1961 by Marijke Koger and Simon Posthuma. In 1965, they staged an "electronic striptease" during an Amsterdam "happening" called Stoned in the Streets. Intrigued (who wouldn't be), the great rock photographer Karl Ferris met them, photographed their wild, trippy, colour-drenched work and published the results in England where they made such an impact that Koger and Posthuma moved to London and exploded onto the music scene. They worked closely with Cream, designing their clothes and posters as well as painting Clapton's and Jack Bruce's guitars. They created album covers for The Move, The Hollies and the Incredible String Band. And they did design work for Procul Harum and were commissioned by Brian Epstein to create concert programmes for the Saville Theatre, which he owned. Inevitably, Lennon and McCartney wanted to meet The Fool which they did, Mar.

First edition. Elephant folio. Original illustrated boards, titles to front cover and spine in white, in the dust jacket. 498 pages, illustrated throughout, including 13 fold-outs plates. Together with the bookstand designed by Marc Newson. Issued with an 8colour ink-jet drawing on cotton-fibre archival paper, measuring: 56 × 43.2 cm. In fine condition. All housed in the original packing box. Signed limited "Art" edition, "A" issue. This example number 177 of 250 copies signed by the artist and accompanied by Untitled 329, a print from David Hockney's 2010 iPad flower drawing series, signed and dated lower right, numbered lower left. (There were four "Art Editions", A (1-250), B (251-500), C (501-750) and D (751-1000), each of these limited to 250 copies and accompanied by one of a series of four prints on paper). Hockney takes stock of more than 60 years of work, from his teenage days at the Bradford School of Art, through his breakthrough in 1960s Swinging London, life by Los Angeles pools in the 1970s, up to his recent extensive series of portraits, iPad drawings, and Yorkshire landscapes. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Etat : ACEPTABLE. [Un] Cartel original publicitando la obra del artistaBrunoSchmeltz (n.1938). Título completo: "8 NOVEMBRE 83 / 14 IANVIER 1984 ; GALERIE ALAIN BLONDEL 4 RUE AUBRY-LE-BOUCHER 75004 PARIS.". La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 60x80.

Etat : ACEPTABLE. [Un] Cartel original publicitando la obra del artistafrancés François Boucher (1703-1770). François Boucherfue un pintor francés, que gustó del estilogalantede la épocarococó,famoso por sus pinturas idílicas y voluptuosas de temas mitológicos, alegorías sobre pastores y por varios retratos deMadame de Pompadour. ["Étude de pied Editions Hazan 1986 - Printed in France by Union Paris - AF 143."] . La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 60x80.

Etat : ACEPTABLE. [Un] Cartel antiguo original, representando la obra de la artistaMichael J. Gallagher (18981965), un artista estadounidense conocido por sus grabados y litografías, especialmente durante su trabajo con el WPA en la Gran Depresión. De origen humilde y veterano de guerra, plasmó escenas de vida urbana y minera de Pensilvania. Su obra forma parte de importantes museos como el Smithsonian y el Met. La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas. // Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 81'5x61.

Etat : ACEPTABLE. [Un] Cartel antiguo original, anunciando una exposición de arte renacentista en el Metropolitan Museum of Art de Nueva York en 1994. Título completo: "Painting and illumination in early renaissance florence 1300-1450 ;the Metropolitan Museum of Art, November 18, 1994 - February 26, 1995 ; the exhibition is made possible in part by the Robert Lehman Foundation and the William Randolph Hearst Foundation." . La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas. // Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 94x61.

Etat : ACEPTABLE. [Un] Cartel original de 1925 representando la obra del artista español Pablo Picasso (1881-1973) para elNational Museum of Modern Art deParis. Titulo completo: "1066 Pablo Picasso (spanish 1881-1973): Still Life with Antique Bust, 1925 National Museum of Modern Art, Paris. Published by Shorewood Reproductions, inc., New York, N.Y.". ________________ La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 57x72'5.

Etat : ACEPTABLE. [Un] Cartel original publicitando la obra del artistaGero Christian Kahlbrandt. Título completo: "Verkerke Gallery Edition / p.o. box 67 ede holland / 17579 / photography by Kahlbrandt+Kahlbrandt / 1986 Verkerke copyright & licensing gmbh / printed in the Netherlands.". La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 56x71.

Paper, stone lithography. Size: Pre-war 1,5 sheet (cca. 126 x 63 cm). Orion Radio is a 1930s vintage Hungarian Art Deco advertising poster designed by the propaganda department of Orion The company s logo designed by Jozsef Bottlik alludes to Janus the two headed creature in the antique mythology representing the multiple directions sound can spread into The company s image was managed by Bottlik and Lajos Porzse The modern emblem looked great on posters where the composition was dominated by it as well as on those where it was used as a design element that accompanied the advertised product just like on this one The composition shows the characteristics the of Bottlik s Art Deco style in the interwar period however this is a late piece In the late 1930s the modernist and Art Deco trends of the earlier decades somewhat altered The new tendency showed the use of softer transitions between colours what can be seen on this design as well however here the typography is closer to the modernist manner The style of this poster is a great example of the time of changing trends in Hungarian graphic design Fine, restored paper loss and tears, backed on Japanese paper.

Stenberg Brothers (illustrateur). Rare two sheet original vintage movie poster designed by the Stenberg Brothers (Vladimir 1899-1982; Georgii 1900-1933) for a comedy film, A Perfect Gentleman, starring Monty Banks. Striking Constructivist design primarily in shades of black and white featuring a gentleman in a top hat and tails within a red window then climbing out of another window onto a red ledge. Large size. Very good condition, restored loss on middle right margin, backed on japan paper. Size: 143x108cm.

Hardcover. "Parole der Woche" (Slogan of the Week) was a National Socialist poster that was published weekly between 1936 and 1943. The Reichspropagandaleitung issued a "Wahlkampfwandzeitung" (election wall-newspaper) for the "Reichstagswahl" in 1936 with such a positive effect that it was developed as a propaganda tool. The large (approx. 2.5 x 4 ft) numbered broadsides were printed in offset color and displayed in civic buildings, bulletin boards and public places throughout Germany. The first issue was published on 29 March, 1936, the last appeared on February 25, 1943 (approximately 400 posters were issued). Originally printed with text only, the graphic design changed over time incorporating illustrations and photographs. Illustrators and designers remained anonymous. The pro-German content was usually heavily anti-Semitic, anti-bolshevist, anti-English & American. A smaller stamp version was also issued which was usually pasted on envelopes & postcards. [We have had examples]. Seven titles, representative of the 116 posters: "Wer dieses Zeichen trägt, ist ein Feind unseres Volkes" "Der Führer ist der Sieg" "Hetze und Fälschung - die Waffe der jüdischen Journaille" "Churchill - Der Mann, der den Bombenkrieg gegen die Zivilbevölkerung erfunden hat" "Sie haben den Krieg gewollt" "Stafford Cripps - Ein Hetzer plaudert aus der Schule" "Churchills Lügenstrategie" Despite its importance, not much material has been published about this highly effective Nazi propaganda tool. Franz-Josef Heyen wrote perhaps the most important work in regards to the posters. His book was published in 1983 by Deutscher Taschebuch Verlag under the title "Parole der Woche: Eine Wandzeitung im Dritten Reich 1936 - 1943." The 142 page book accompanies this collection. For his book Heyen selected 100 out of the 400 published. 31 posters from our collection are pictured in his work (see list below). Also includes a CD-ROM with pictures of all 116 posters in our possession. The following is a list of the numbered copies of each year with date. All in large poster format (Ausgabe A), except six which are in the smaller format (Ausgabe B). 1937: 22 vom 27. Mai 1938: 14 vom 7. April (Heyen, p. 55) 24 vom 16. Juni 26 vom 30. Juni (Heyen, p. 61) 36 vom 8. September 43 vom 27. Oktober 44 vom 3. November ? Provisionally # 50 von ? Dezember? (Gleihe Brüder) 51 vom ? Dezember (Volk Dank' es Deinem Führer) 52 vom ? Dezember ("Ein gottgesegnetes Kampfjahr") 1939: 3 vom 19. Januar 6 vom 9. Februar 7 vom 16. Februar 8 vom 23. Februar 10 vom 9. März (Heyen p. 61) 11 vom 16. März 14 vom 6. April 15 vom 11. April 16 vom 18. April 27 vom 3. Juli 28 vom 10. Juli 29 vom 17. Juli 30 vom 24. Juli 31 vom 31. Juli 35 vom 28. August 44 vom 30. Oktober 46 vom 13. November 47 vom 20. November 49 vom 4. Dezember 1940: 1 vom 1. Januar 2 vom 8. Januar 3 vom 15. Januar 9 vom 26. Februar 10 vom 4. März 17 vom 22. April 18 vom 30. April (Heyen, p. 70) 19 vom 6. Mai 35 vom 26. August 36 vom 2. September 37 vom 9. September 39 vom 24. September (Heyen, p. 79) 44 vom 28. Oktober 48 vom 25. November 1941: 3 vom 14. Januar (Heyen, p. 83) 10 vom 5. März 19 vom 7. Mai 22 vom 28. Mai (Heyen, p. 87) 23 vom 4. Juni (Heyen, p. 88) 24 vom 11. Juni 32 vom 6. August (Heyen, p. 92) 33 vom 13. August 34 vom 20. August 35 vom 27. August 36 vom 3. September 37 vom 10. September 38 vom 17. September (Heyen, p. 93) 39 vom 24. September (Heyen, p. 95) 40 vom 1. Oktober 41 vom 8. Oktober 42 vom 15. Oktober 43 vom 22. Oktober 44 vom 29. Oktober 45 vom 5. November 46 vom 12. November (Heyen, p. 95) 47 vom 19. November (Heyen, p. 97) 48 vom 26. November (Heyen, p. 97) 49 vom 3. Dezember 50 vom 10. Dezember 51 vom 17. Dezember (Heyen, p. 98) 52 vom 24. Dezember (Heyen, p. 98) 1942: 1 vom 1. Januar (Heyen, p. 98) 2 vom 7. Januar 3 vom 14. Januar 4 vom 21. Januar (Heyen, p. 101) 5 vom 28. Januar (Heyen, p. 101) 6 vom 4. Februar 7 vom 11. Februar 8 vom 18. Februar 9 vom 25 Februar (Heyen, p. 103) 10 vom 4. März 11 vom 11. März 12 vom 18. März (Heyen, p. 103) 14 vom 1. April 15 vom 8. April (Heyen, p. 104) 16 vom 15. April (Heyen, p. 104) 17 vom 22. April 19 vom 6. Mai 20 vom 13. Mai 22 vom 27. Mai 23 vom 3. Juni (Heyen, p. 106) 24 vom 10. Juni 25 vom 17. Juni 26 vom 24. Juni 27 vom 1. Juli (Heyen, p. 108) 28 vom 8. Juli (Heyen, p. 107) 29 vom 15. Juli 30 vom 22. Juli 31 vom 29. Juli (Heyen, p. 110) 32 vom 5. August 33 vom 12. August (Heyen, p. 109) 34 vom 19. August (Heyen, p. 110) 35 vom 26. August 38 vom 16. September (Ausgabe B) 39 vom 23. September (Ausgabe B) 40 vom 30. September (Ausgabe B) 42 vom 14. Oktober (Heyen, p. 112) 43 vom 21. Oktober (Heyen, p. 113) 44 vom 28. Oktober 45 vom 4. November 46. vom 11. November 47 vom 18. November 48 vom 25. November 49 vom 1. Dezember (Ausgabe B) 50 vom 9. Dezember 51 vom 16. Dezember 52 vom 23. Dezember Provenance: The posters come from two contemporary sources; One private collection was stored in the basement of a German pharmacy where they most likely had been displayed during the Third Reich. The other collection came from a military source. Verso of a poster with marginal note in pencil: "An Schließerposten mit der Bitte um Ausschmückung des Stabsgebäudes. I C." Majority of posters neatly folded. Edges and folds of some posters partly creased, few closed tears (some repaired with tape), some corners chipped not affecting text or image, few with pin needle and punch holes (minimal loss of text and image due to punch holes), sporadic foxing. Overall in very good condition with bright and crisp illustrations and text. Unique collection of original Nazi Propaganda posters seen by the German population during the Third Reich giving an invaluable historical insight into the ideology of the National Socialists.

Deluxe Limited Edition portfolio. One of five copies (this being copy No. 1) of photographer Sophie Bramly's portfolio of 47 matte finish photographic prints in both black and white and color, depicting the emerging hip hop scene of 1980s New York. Signed and numbered by the photographer on the limitation page, and again on the verso of each photograph. Housed in a gold and red multi-tiered custom box. Also included is a copy of the limited edition softcover, published by Galerie 213, one of 500 copies (this being no. 058) containing a signed and numbered print by Bramly. With an introduction by Fab 5 Freddie, with his signature in bold black ink. Arguably the most important photography portfolio documenting American hip hop that has ever been published, "Walk This Way" intimately showcases the burgeoning genre's emergence in 1980s New York, as captured via scenes backstage, in the homes of the artists, at art galleries, and of course while performing. Photographer Sophie Bramly left her native France to spend four years immersing herself in hip hop, becoming close friends with many artists, dancers, and their families. Compelled by the raw, vibrant energy of rap and hip hop, Bramly captured the outcast scene before it was considered a commodity, at a time when only a handful of clubs featured the music. The early, largely African American scene represented a positive creative alternative to the poverty-related violence often found in the South Bronx, and has since become such a ubiquitous force that its stylistic influence can be found in nearly every facet of modern American culture, including language, clothing, dancing, and the use of DJ sampling. Featuring Afrika Bambaataa, Kool Herc, Russell Simmons, The Beastie Boys, Run DMC, Keith Harring, Futura 2000, Herbie Hancock, The Furious Five, and more, this portfolio contains images of some of hip hop's greatest early innovators. A versatile and multifaceted artist, Bramly later returned to Paris to host Europe's "Yo! MTV Raps" before creating a series of documentaries on sex and music, then going on to start her own production company that focused largely on female-oriented pornography. Portfolio includes: four 16 x 20 inch prints, twelve 7 x 9.5 inch prints, nine 5.25 x 7.25 inch prints, and twenty-two 11.5 x 9.5 inch prints, housed in a custom box. All photographs Fine, and housed in a Fine custom box. Limited Edition: Fine in wrappers and a Fine printed acetate dust jacket.

Paper, stone lithography. Size: Pre-war 2 Sheet (cca. 126 x 95 cm). Scoundrels Is this what you wanted is a 1919 vintage Hungarian communist propaganda poster designed by Mihaly Biro during the early days of the Hungarian Soviet Republic The poster declares that the new communist government of Hungary was outraged by the developments of the Paris Peace Conference which later led to the Treaty of Trianon This poster is one of Biro s most important and well known works a true masterpiece of early propaganda art During the very short period 133 days of the Hungarian Soviet Republic the progressive and modern tendencies in art and literature became apparent and dominated the cultural policy In fact the modern and progressive Hungarian intelligentsia supported the new regime unanimously Behind this phenomenon lied many reasons The Hungarian Soviet Republic was established in the spring of 1919 peacefully without bloodshed unlike the Soviet Revolution in 1917 which lead to a civil war This fact gave the new state strong legitimacy In addition to the socialist ideology of the regime the nationalist emotions were also present since the country was about to continue the war to defend itself and its territorial integrity This meant that the new regime was able to represent the key although diverse opinions present in Hungarian society The social issues were a central question for many Hungarian artists groups since the 1910s Some of them were avant garde groups with a strong leftist ideology in which they were similar to not just the Russian but to the western Avant garde like Expressionist and Dadaist artist groups The question of social relevance was present in the work of the writers of the main literary journal Nyugat West Socialist ideology was dominant in Gy rgy Georg Luk cs s philosophy circle Vas rnapi K r Sunday Circle as well Lajos Kass k published internationalist and leftist articles in his magazines A Tett Deed and Ma Today His clique defined itself as Activist with which they referred to their efforts to achieve changes in the social system In 1917 the news of the Soviet Revolution upset all of these groups Their terrible experiences of the World War I caused great disappointment and a longing for peace The modern artist groups had a common desire for a new system a new world a new faith and new man The belief that after this terrible war a new world would arise got stronger and stronger Their envisioned new world was defined by equality which was to be achieved by the peaceful uprising of the lower classes As the poet and writer Gyula Juh sz phrased only the proletariat can create a new world a better one because it is truer The Hungarian Soviet Republic seemed to fulfil the wishes of the artists who all became prominent actors in its cultural policy making The focus of the new cultural policy was on the removal of the bourgeoisie s intellectual dominance culture should not be theirs but everyone s privilege To achieve this goal the new regime had to restructure the system from the elementary schools to the universities and museums Education became free and schools became public The art collections were expropriated new libraries were opened in the country The new system gave the workers a real chance to be educated The modernist intelligentsia held important positions in the new system Most of them played central roles in the reforming of cultural life As a result after the fall of the short lived communist state most of them had to leave Hungary to avoid retaliation These artists started a new career abroad what played an important role in that many of them later became world famous Gy rgy Georg Luk cs the important philosopher and writer was a central figure in the cultural policy he became Commissar for Education and Culture In that position he controlled most cultural matters He was also a member of the Directory of Theatre where the famous writer aesthete and film critic B la Bal zs born Herbert Bauer was working as well The Directory of Film was led by S ndor Alexander Korda who later built his career as a film director in Hollywood In the Directory of Art most of the modernist artists became members R bert Ber ny the young painter of Nyolcak The Eight B ni Ferenczy a famous sculptor Lajos Kozma architect and designer The Directory of Music was responsible for the high standards of musical life and was led by world famous composers B la Bart k Ern Dohn nyi and Zolt n Kod ly The Writers Directory was also under the governance of Luk cs who worked with most of the writers of Nyugat the most prominent cultural journal of the time Lajos Kass k avant garde painter graphic artist and writer was working at the Propaganda Department All these great theoreticians and artists were working for an idealistic new world They didn t fail they were able to follow their original modern way of thinking and the dictatorship wasn t strongly present in the field of culture According to Luk cs s principles there was no obligatory style no official art they were able to avoid the slavish acceptance of the Bolshevik s idea of realism as the sole acceptable style Modernist tendencies were widely accepted and became an important element of the new system s art and propaganda The theories of this leading group became apparent on the propaganda posters which were created mostly by the leading poster artists of the decade Mih ly Bir Imre F ldes G za Farag etc prominent avant garde artists like R bert Ber ny B la Uitz Bertalan P r J zsef Nemes Lamp rth J nos Kmetty etc and other talented artists most of whom later created a significant oeuvre like Marcell V rtes J nos T bor d n Dank Jol n Szil gyi etc All the artists and theorists who were participating were in their twenties or early thirties Mih ly Bir who was one of the most important pioneers of propaganda poster design of the 20th century created his most important works during the early 1910s and then in 1918 and 1919 He also designed the scenery for the 1919 May 1 celebrati.

Geo Ham (illustrateur). Original vintage poster for the 1935 Monaco Grand Prix car race held on 22 April featuring a striking Art Deco design by Geo Ham (Georges Hamel; 1900-1972) featuring a Mercedes W25, one of the so-called Silver Arrows cars, ahead of a red Alfa Romeo P3 Tipo B. The dynamic and stylish cars are seen racing each other at speed with the sun shining on Monte Carlo in the background below the blue sky, the title above and event date below - 7e Grand Prix Automobile Monaco 22 Avril 1935. This stunning poster is a testament to the history of Monaco Grand Prix racing and is one of the most sought-after early motor racing posters. The 1935 Formula One race was dominated by Mercedes-Benz and won by the Italian driver Luigi Fagioli in their powerful W25B model. The French painter Geo Ham is a true master of auto racing art and is well known for his posters and illustrations featuring cars and aeroplanes. Excellent condition, small tears, light creasing, backed on linen. Size: 119x79cm.

A comprehensive collection of publications and other documents from the Nova Scotia College of Art and Design (NSCAD), an unexpected yet tremendously important center of conceptual art and postminimalism throughout the 1970s. Beginning as a nondescript art school in 1887, nothing about this small Halifax institution presaged the enormous international influence that the school would exert when Garry Neill Kennedy took over as NSCAD's president in 1967 at age 32. The school's subsequent and unprecedented creative direction must be credited to Kennedy, who (with a budget of $62,000) turned the school away from its previous provincialism toward the influential, international posture it would maintain for the next decades. This stature was due in no small part to the faculty and visiting artists that Kennedy brought to the school, including Vito Acconci, Sol LeWitt, Dan Graham, Martha Rosler, Jenny Holzer, Daniel Buren, Hans Haacke, Yvonne Rainer, Robert Frank, Robert Morris, Dara Birnbaum, Seth Seibelaub, Lucy Lippard, Robert Smithson, Gerhard Richter, Eric Fischl, Lawrence Weiner, Joseph Beuys, and Claes Oldenburg, among many others. The geographical location of NSCAD on the transatlantic route between New York and Europe aided in its access to the international scene. This brought many visiting artists who, instead of appearing only for a talk or lecture, used the opportunity for longer residencies, exhibitions, and collaborations with the school. Notably, Joseph Beuys's first trip to North America was not to New York, but to Halifax, as a visiting artist at NSCAD. During its heyday between the late '60s and '70s, NSCAD's teaching philosophy radically changed. Starting with the removal of a lettered grading system, NSCAD became the first degree-granting art school in Canada, advocating an intense engagement on all ends of the art-making spectrum between professional and student artists. NSCAD also documented its own significance through the publications of its press, as well as the numerous invitations and catalogues produced by its galleries in conjunction with the shows and exhibitions it mounted during this period. This combination of publications, exhibitions, and collaborations generated by the school in many ways made it a contemporary Black Mountain College and its subsequent influence has proved no less significant. Indeed, in 1973 ART IN AMERICA proclaimed NSCAD "the best art school in North America," and thirty-five years later a major exhibition (at the Art Gallery of Nova Scotia) and publication (by MIT Press) wryly celebrated NSCAD as "The Last Art College." The NSCAD Press began operations in 1972. Initially led by Kaspar Koenig, and then by Benjamin Buchloh, the Press published 26 titles between 1982 and 1987, including now rare and important works by Jenny Holzer, Steve Reich, Michael Snow, Donald Judd, Dan Graham, Martha Rosler, Gerhard Richter, Carl Andre, Lawrence Weiner, and others. All are present in this collection many in their rare hardcover editions. The collection also documents two other canonical aspects of NSCAD. The first, the "Projects Class," was developed by David Askevold, one of Kennedy's new young hires. In the spirit of the school's new direction of dismantling traditional teaching methods, the class invited artists to submit proposals for students to undertake under the artists' guidance. A rare complete set of cards documenting the first instantiation of this class from 1969 is present in its original envelope and includes submissions from artists Robert Barry, Mel Bochner, James Lee Byars, Jan Dibbets, Dan Graham, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Lucy R. Lippard, and Robert Smithson, among others. The collection also includes materials from the Lithography Workshop, under the direction of Gerald Ferguson (who had insisted on hiring Askevold). The workshop's goal was not only to train students in printmaking, but to produce prints for renowned artists both local and international. It allowed a space for NSCAD students to develop alongside professional artists, taking their printmaking from initial concept to final execution. The workshop encouraged exploration of mediums and invited not only visual artists but performers, writers, dancers, musicians, and other famous and emerging creatives to make one-off projects. More than half a dozen pieces explicitly attributed to the workshop are present, including work from Emmett Williams, Huebler, and Lawrence Weiner. But perhaps the most significant components of this collection are the ephemeral documents (invitations, flyers, postcards, posters, catalogues) produced by NSCAD's legendary Mezzanine Gallery, which operated between 1970 and 1973 under the directorship of Charlotte Towsend-Gault. This remarkable program produced ground-breaking contemporary art projects, exhibitions, events, and residencies by such artists as Bas Jan Ader, Dan Graham, John Baldessari ("I Will Not Make Any More Boring Art"), Tony Shafrazi, Eleanor Antin, Charlotte Moorman, Sol LeWitt, Martha Rosler, Donald Judd, On Kawara, Martha Wilson, and many others. These are almost to an item uncommon, with most scarce, and many quite rare. As a group, the roughly 90 Mezzanine Gallery items included here would be virtually impossible to reassemble now. In 2006, Printed Matter (NYC) presented an exhibition of this material under the curatorship of AA Bronson. The present collection includes not only all of the material shown in that exhibition, but other documents acquired subsequent to it. The collection also includes later ancillary and reference materials. Taken as a whole, it documents all aspects of the most critical years at a key institution that served as both incubator and promoter for some of the most important and influential art in the second half of the 20th century. Some 155 items in all. Generally very good or better overall, with most of the ephemera near fine or better. All carefully and neatly housed in a s.

Broadside/ Poster. Etat : vg. Measuring 20 1/2 x 25 1/2". Large format text in Polish, printed in black, with the official Coat of Arms of the Republic of Poland printed at the top in red. This extremely important and scarce historical document officially announces the event that would become the start of the Second World War, which would go on to be among the deadliest conflict in human history. This is known to be the first printed official communication of the Polish government regarding the German invasion, and therefore the very first printed mention of the events initiating WWII. These declarations were officially posted in cities throughout Poland, in the wake of the initial early morning assault by German Naval forces and the Luftwaffe, on September 1st. Although Polish radio had started to broadcast announcements about the invasion as early as 6:30 am, this presidential proclamation was the first in print. This is a copy from Warsaw. In the text Polish president Ignacy Mo?cicki announces the German invasion and appeals to the Polish citizenry to the take arms to defend their freedom and independence. The text blesses the Polish people and asks them to stand united with the army, promising a strong and victorious military response. Proclamation is in very good condition, with only some minor foxing at stains towards the bottom and right side, as well as some light creasing and closed tears along the right edge. Folding creases. All text clean and vibrant. In overall very good condition. These printed proclamations (posters) are now extremely scarce with only one known institutional holding known, located in the National LIbrary of Poland.

None. Etat : None. A massive collection of over 3000 original photos and over 90 pieces of rare ephemera, comprising a unique and exhaustive visual source on the history of East Berlin and the GDR.  The earlier materials from the 1950s are presented by three private albums, assembled by a female member of the Free German Youth movement (Freie Deutsche Jugend), a participant of the Third World Festival of Youth and Students (East Berlin, August 5-19, 1951) and a young Volksarmee officer stationed in East Berlin. The photos include lively snapshot photos showing the streets and sites of East Berlin and important public events witnessed by the compilers: the first (1950) and second (1954) German Youth Meetings (demonstration processions with flags, posters and portraits of Mao Zedong, young Erich Honecker, a march in the "Pionierrepublick Ernst Thälmann" park), and the Third World Festival of Youth and Students (athletes' parade, sports competitions, public demonstrations, art performances - with some interesting period ephemera). There are also vivid, often humorous scenes and portraits of the compilers and their friends who, all in their late teens or early twenties, enjoyed life, notwithstanding the political conditions of the time.   The history of the 1960s and early 1970s is represented by four keepsake collections of loose photos, marking the milestones in the history of the Berlin Wall (likely, the 10 th anniversary since its erection), reconstruction and urban development of East Berlin (commemorating 20 and 25 years of socialistic reconstruction) and Pankow borough (likely, marking the 30 th  anniversary of the founding of the GDR and the Pankow district ). The photos either follow the history of the Berlin Wall and the events leading to its erection (from 1948 to early 1970s), overview the history and urban development of Pankow, or contain striking images "before" and "after," illustrating the successes of socialistic reconstruction of East Berlin. Other albums from this period commemorate the official visit of a North Korean military delegation to the GDR (1968), the centennial jubilee of Wilhelm Pieck - the first and only president of the GDR, set up in the Institute for Marxism-Leninism of the Central Committee of the Socialist Unity Party of Germany (1976); document the service of the GDR Civil Defense and "Egon Schultz" training school for border guards, and performances of the Central Orchestra of the GDR Ministry of Internal Affairs. A 1988 custom-made keepsake album commemorates the 65 th jubilee of an influential East German functionary, Kurt Blecha, who, from 1958 to 1989, was in charge of the GDR censorship system, with a detailed history of his government service (including over 50 newspaper clippings and printed ephemera). Another album, likely compiled in the last year of GDR's existence, unveils the history of a Kampfgruppen der Arbeiterklasse (Combat Group of the Working Class) paramilitary unit affiliated with the Berlin Department of Engineering and Electrification of the GDR state railway, Deutsche Reichsbahn. An interesting keepsake album from Kurt Blecha's personal collection contains original photos and rare printed ephemera illustrating a propagandist exhibition, "Nato-Agenten ohne Chance" ("Nato Agents without a Chance"), organized by the notorious Stasi (Ministry of State Security of GDR) in Berlin and across the East Germany in 1959-1961. The photos of the exhibition's main entrance and booths are supplemented with rare official poster and leaflets.  Finally, there is an extraordinary collection of ca. 2000 original press photos, comprising a comprehensive visual source on the history of the GDR and East Berlin - from the proclamation of the GDR on October 7, 1949 to the East German general election on March 18, 1990. The photos follow through the period of ideological enthusiasm and industrial boom of the 1950s, the decades of social stability and slow stagnation in the 1960s and 1970s, the beginning of religious and human rights movements in the 1980s and finish with strong images of wide-scale demonstrations for democratization and liberal reforms in East Germany. Series of photos follow the history of the Berlin Wall, the border between East and West Germany, and the political events of 1987-1990, leading to the Reunification of Germany. There are also captivating photos of everyday life, bringing forward the life and experience of ordinary East Germans.         1. [FREIE DEUTSCHE JUGEND, 1950s] [Historically Significant Album with 240 Original Gelatin Silver Snapshot and Studio Photographs, Documenting the Early Years of the Free German Youth Movement in East Berlin and Saxony and Showing the Events of the First (1950) and Second (1954) German Youth Meetings in East Berlin, the Fourth Parliament of the Free German Youth in Leipzig (1952), Celebration of the 140th Anniversary of the Battle of the Nations in Leipzig (1953), a Meeting of " Young Korean Friends " at the Berlin Ostbanhof in 1953, Pavilions of the Technical Fair in Leipzig (1956), Numerous FDJ Hiking, Camping and Skiing Trips, Fancy Dress Balls, the Compiler and Her FDJ Friends, &c.]. Ca. 1950-1956. Oblong Quarto album ca. 22x29,5 cm (8 ½ x 11 ¾ in). 24 card stock leaves with tissue guards. With 240 mounted and loosely inserted gelatin silver photos, from ca. 10,5x14,5 cm (4 x 5 ¾ in) to ca. 5x5,5 cm (1 ¾ x 2 in). All photos with period red or black pencil captions on the mounts (most captions relate to more than one photo). Period light brown pebbled cloth album fastened with a string; a cloth strip keeps the covers closed. Binding rubbed, covers with cracks on hinges and losses on the corners, the front cover with a split on the lower right corner, two or three images possibly previously removed, but overall a very good album with bright and sound photos. Historically significant, extensive collection of early original snapshot and studio photos, taken and collected by a female member of the Free German.

Paper, stone lithography. Size: Pre-war 2 Sheet (cca. 126 x 95 cm). One of the most fascinating early Hungarian Art Deco posters Its creation dates back to the 1910s when it was designed by Geza Faraga It is connected to interesting issues of the history of the beginning of the 20th century G za Farag was one of the earliest masters of Hungarian poster art He was working in a textile factory to afford his art studies when he won scholarship to Paris in 1989 He continued his work and studies in the cultural metropolis first he studied at the Colarossi Academy later in the Atelier Artistique Delaye At the cole des Arts Decoratifs he got to Alphonse Mucha s workshop after which he could work with the Czech master of Art Nouveau for two years He returned to Hungary in 1902 and he was continually taking part in exhibitions with his gouaches from 1903 until 1910 These works were mostly caricature paintings which depicted typical figures of the contemporary citylife in a satirical way This satirical attitude was one of the most significant features of his works from the very beginnings until the end His early posters from the first years of the 20th century are characterised by strong and waving contour lines vivid colours and decorative ornamental patterns He was influenced by Mucha but the fabular lira of the Czech master hardly appeared in the works of Farag The Japanese woodcut art and the French Nabis artists also had an important impact on him He could find his own visual voice in the Art Nouveau style within some years by the end of the 1910s Softer colours more complicated dimensional compositions decorative motifs and the persistent humorous approach became the most important characteristics of his unique style His posters could capture the attention of the audience with their jocular scenes clever ideas and high attractiveness This poster is one of his later works It depicts an engaging figure of a lady dancing in colourful fashionable clothing and smiling to the viewer The figure is picked out of scene and put in front of a white background but in this dance pose and decorative clothing she is interesting enough alone She is wearing a dark blue strapless tank dress with a green bow at the top on one side and camel coloured frills at the bottom with blue and green patterns The waistline disappeared in the dress and the hemline has climbed high letting the legs be seen in the turquoise stockings The camel coloured high heel shoes with laces are also showy as she is standing on one foot lifting the other one up She is also holding a long white stole with pavonine patterns in her hands outstretched A real feather of a peacock is hanging out of her short and curly bob hairdo as its ornament Only the name of the lady EVA appears as the inscription at the bottom of the composition The female figure was one of the central motifs of cultural and commercial posters since the turn of the century which had its sources in the painting sculpture art and literature of the age namely the Symbolist fine arts Several female figure types were being formed such as the innocent pure girl the unapproachable goddess the muse or the femme fatale As they were tools to capture and express the morale of the critical times end of the world atmosphere desired harmony cult of fate these types became recurring motifs Still artists represented them in their own manner and from their own point of view Like the Czech master Farag also enjoyed representing female figures on his posters While Mucha s figures have a milder low keyed eroticism Farag s figures are more varied Mucha s sweet gentle female figures can be seen on Farag s early posters but there was another category too different from the mentioned types it was a rather flirty alluring kind It appeared specifically on the posters of Jules Ch ret before in the shape of a figure drawn after a dancer or a model in fashionable luscious clothes and in seductive dance poses After the French poster artist the type was named ch rette It was a popular type in France but not that commonly used in Hungarian poster art Farag uniquely utilized this kind of representation quite often though this poster also belongs to the category The ch rette or more generally called coquette already appeared on the early works of him but in the second part of the 1900s the artist gained an even bigger popularity with it It represented a special mixture of romanticism eroticism and social satire Usually he employed the type in a caricaturistic character always highlighting an aspect of it to achieve funny catchy commercials mostly for cultural events The figure type reappeared in commercials for the entertainment industry in the second part of the 1910s as well mostly in case of advertisements for nightlife events in casinos venues and cabarets While the subject of commercial posters of the 1900s was rather the commerce itself the posters of the 1910s were designed to advertise bars restaurants caf s nightlife locations and their events These venues had been spreading the capital city of Budapest gradually since the Millennium festivities in 1896 The bohemian nightlife of Budapest and its typical aristocrat and bourgeois characters appear on the event posters of the period many of which were designed by Farag A good example for that is the poster for the Carneval and violet night in Gambrinus from 1915 and this poster with EVA is also a perfect representative of the phenomenon Both of the appearing female figures belong to the coquette representation captured to be perky enticing and attractive but also with a slightly socio critical semitone It is also quite interesting that Farag was a common and familiar visitor of these nightlife events of the city too and several times he depicted existing well known personalities of the period including himself He dared to create parodies tell jokes and use irony not even saving himself The depicted dancer lady EVA was most probably a popular dancer figure of the contemporary.

Paint on cardboard. Etat : Fine, light wear. Size: cca. 23 x 31 cm. Packing the Dorco beach set is a 1931 Hungarian hand painted Art Deco ardvertising artwork by TIhamer Csemiczky This painting is the original maquette of the back cover of the 1931 Dorco swimwear catalogue Csemiczky originally studied to be a pharmacist In 1926 he joined the Magyar R di js g Hungarian Radio Newspaper already as an employed graphic designer Soon all the major radio companies Philips Tungsram Orion Standard had him designing their brochures and posters Until the end of his life he worked as an illustrator for Therapia Hungarica author of pharmaceutical advertisements and in house graphic designer for Tungsram He also worked for the Dorco company a popular firm specialising mainly in titles in the 1920s and 1930s Csemiczky s true genre was advertising graphics the basics of which he learned at the private school of S ndor Bortnyik His work is characterised by simultaneous composition the use of transparency blotch and silhouette effects editing on a plane or a specific spatial perspective This gouache painting shows the simple means and wit with which Csemiczky could promote a new product He uses colours red blue and shapes homogeneous surfaces silhouette of a figure to clearly separate foreground midground and background The elegant gift of a well dressed well dressed man to his lady partner is in one of the golden points of the image and also shines like gold forming a halo of light around his body By cropping the image at the head he can further accentuate the merchandise itself the Dorco beach set.

Paper, stone lithography. Size: Pre-war 1 Sheet (cca. 95 x 63 cm). Palma rubber heels is a 1911 vintage Hungarian advertising poster designed by Mihaly Biro It is one of the most important emblematic posters of Hungarian poster art and an outstanding work in Biro s oeuvre Fine, light fold marks and wear, small tears.

Hardcover. Etat : Very Good. 57 items in 52 vols + 1 box (printed poster).

PIRATAS DEL CARIBE - 1942Dir: CECIL B. DE MILLECast: JOHN WAYNERAY MILLANDPAULETTE GODDARDCHARLES BICKFORDROBERT PRESTONSUSAN HAYWARDMEXICOL.C.- 31 x 41-Cms.-13 x 16 IN.PLEASE CHECK THE PICTURE FOR CONDITIONMost are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING Most are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING.

Paper, stone lithography. Size: Pre-war 2 Sheet (cca. 126 x 95 cm). Red Soldiers Advance is one of the iconinc posters of the short lived Hungarian Soviet Republic from 1919 designed by Janos Tabor an important posterist of the first half of the 20th century This short lived entity was the second communist state after Soviet Russia and the propaganda posters that were produced by Hungarian artists during this short period are in many ways unmatched Avant garde masterpieces which were way ahead of their time The Hungarian Soviet Republic Progressive art and culture with social interest During the very short period 133 days of the Hungarian Soviet Republic the progressive and modern tendencies in art and literature became apparent and dominated the cultural policy In fact the modern and progressive Hungarian intelligentsia supported the new regime unanimously Behind this phenomenon lied many reasons The Hungarian Soviet Republic was established in the spring of 1919 peacefully without bloodshed unlike the Soviet Revolution in 1917 which lead to a civil war This fact gave the new state strong legitimacy In addition to the socialist ideology of the regime the nationalist emotions were also present since the country was about to continue the war to defend itself and its territorial integrity This meant that the new regime was able to represent the key although diverse opinions present in Hungarian society The social issues were a central question for many Hungarian artists groups since the 1910 s Some of them were avant garde groups with a strong leftist ideology in which they were similar to not just the Russian but to the western Avant garde like Expressionist and Dadaist artist groups The question of social relevance was present in the work of the writers of the main literary journal Nyugat West Socialist ideology was dominant in Gyorgy Georg Lukacs s philosophy circle Vas rnapi K r Sunday Circle as well Lajos Kassak published internationalist and leftist articles in his magazines A Tett Action and Ma Today His circle defined itself as Activist with which they referred to their efforts to achieve changes in the social system In 1917 the news of the Soviet Revolution has upset all of these groups Their terrible experiences of the World War One caused great disappointment and a strong desire for peace The modern artist groups had a common desire for a new system a new world new faith and new man The belief that after this terrible war a new world will arise got stronger and stronger Their envisioned new world was defined by equality which was to be achieved by the peaceful uprising of the lower classes As the poet and writer Gyula Juhasz phrased only the proletariat can create a new world a better one because it is truer The Hungarian Soviet Republic seemed to fulfil the wishes of the artists who all became prominent actors in its cultural policy making The focus of the new cultural policy was on the removal of the bourgeoisie s intellectual dominance culture should not be theirs but everyone s privilege To achieve this goal the new regime had to restructure the system from the elementary schools to the universities and museums Education became free and schools became public The art collections were expropriated new libraries were opened in the country The new system gave the workers a real chance to be educated The modernist intelligentsia held important positions in the new system Most of them played central roles in the reforming of cultural life That meant that after the fall of the short lived communist state most of them had to leave Hungary to avoid retaliation and they started a new career abroad and we can add this was an important factor in that many of them later became world famous Gyorgy Georg Lukacs the important philosopher and writer was a central figure in the cultural policy he became Commissar for Education and Culture In that position he controlled most cultural matters He was also a member of the Directory of Theatre where the famous writer aesthete and film critic Bela Balazs born Herbert Bauer was working as well The Directory of Film was led by S ndor Alexander Korda who later built his career as a film director in Hollywood In the Directory of Art most of the modernist artists became members Robert Bereny the young painter of Nyolcak The Eight Beni Ferenczy a famous sculptor Lajos Kozma architect and designer The Directory of Music was responsible for the high standards of musical life and was led by world famous composers Bela Bartok Erno Dohnanyi and Zoltan Kodaly The Writers Directory was also under the governance of Lukacs who worked with most of the writers of Nyugat the most prominent cultural journal of the time Lajos Kassak avant garde painter graphic artist and writer was working at the Propaganda Department All these great theoreticians and artists were working for an idealistic new world They didn t fail they were able to follow their original modern way of thinking and the dictatorship wasn t strongly present in the field of culture According to Luk cs s principles there was no obligatory style no official art they were able to avoid the slavish acceptance of the Bolshevik s idea of realism as the sole acceptable style Modernist tendencies were widely accepted and became an important element of the new system s art and propaganda Posters of the Hungarian Soviet Republic The theories of this leading group became apparent in the propaganda posters which were created mostly by the leading poster artists of the decade Mih ly Biro Imre Foldes Geza Farago etc prominent avant garde artists like Robert Bereny Bela Uitz Bertalan Por Jozsef Nemes Lamperth Janos Kmetty etc and other talented artists most of whom later created a significant oeuvre like Marcell Vertes Janos Tabor Odon Danko Jolan Szilagyi etc All the artists and theorists who were participating were in their twenties or early thirties Mihaly Biro who was one of the most important pioneers of propaganda poster design of the 20t.

Oil on canvas, laid down on wood, 22 x 30 inches. Signed and dated lower left: "Alfred Agoust / 1893," titled: "Buffalo Bill" on Kennedy Gallery labels. Superb condition, period-style gilt American exhibition frame. Provenance: Kennedy Galleries (labels); Collection of Edward Eberstadt & Sons. A very rare contemporary oil painting of an Act in Buffalo Bill's Wild West Show: Amost all of the images of the Wild West show are found in the great lithographic posters and photographs produced by the William F. Cody publicity machine. Period oil paintings of the Buffalo Bill act are very rare indeed. This wonderful image, showing a comic routine Buffalo Bill evidently adopted from European circus acts, is a unique contribution to the iconography of the Wild West Show. This entertaining painting almost certainly depicts a version of the comedy pantomime routine called "The Frenchman's Bottle Gag" as performed in England by Buffalo Bill Cody's Wild West Show. The painting shows a bewildered Buffalo Bill in the center of the canvas, apparently ready to come to blows with two cockney characters on either side of him, one of whom is swilling a drink from a flask. A prominent historian of performance tells us: "The gag, made famous in Paris by the Hanlon Brothers and their collaborator, the Agoust Family Jugglers, in the long playing three-stage acrobatics, magic, and pantomime spectacular, Le Voyage en Suisse, usually involves two clowns, a ridiculously dressed Frenchman, and his bottle. The clowns steal his bottle and surreptitiously sneak sips back-and-forth, as the bewildered Frenchman desperately attempts to figure out who's got his bottle. This image is of costers or pearlies, East End London cockneys, victimizing the Buffalo Bill character - the old Hanlon & Agoust drinking routine re-costumed for the Wild West show's British audience." Buffalo Bill Cody's Wild West Show made two extensive tours of England and Europe prior to the date of this painting, 1887-1888, arriving for Queen Victoria's Golden Jubilee, and 1889-1893, playing the great theaters and fairgrounds. The 1893 tour was at the height of the show's fame. The 1893 show program correctly stated, "Since the visit of Buffalo Bill's Wild West to England and its remarkable engagement in London, at West Brompton, in 1887, a history and tour have been made, such as no organization of its magnitude and requirements ever accomplished." Henri Agoust, the Hanlon's long-time collaborator, had a son named Alfred, a member of the Agoust Family Jugglers. According to a census of traveling show people, he would have been in his early twenties in 1893. His biography is otherwise unknown. It seems likely, however, that the juggling Alfred Agoust was also the well trained, talented artist responsible for this magnificent show business painting, with its attention to costume, props, and comic gesture, demonstrating the specialized knowledge of the insider. John A. McKinven The Hanlon Brothers, their amazing acrobatics, pantomimes and stage spectacles (Glenwood, Illinois: David Meyer Magic Books, 1998), passim; Buffalo Bill's Wild West and Congress of Rough Riders of the World (Chicago: Blakely Printing Company, [1893]), passim.

Paper, stone lithography. Size: Pre-war 1 Sheet (cca. 95 x 63 cm). This famous poster by J nos Vaszary with Venus de Milo and the self portrait of Raffaello in one graphic was made to advertise the International Spring Exhibition of the Hungarian National Association of Fine Arts in the new Art Gallery in 1899 Around the turn of the century it was a new phenomenon that posters of artistic exhibitions were made by the exhibiting artists themselves so these posters reflected their own aspects and artistic approaches furthermore they were in harmony with the advertised exhibition The ouvre of J nos Vaszary had a period dominated by Art Nouveau from the middle of the 1890s this time his artistic activity in the field of applied arts is the most intensive he shapes objects designs textiles creates books and posters and the stylized decorative portrayal of these works is common with the current painting of Vaszary as well Not only the Art Nouveau styled design but also the citrine colours of his paintings of the 1890s appear again on the ceremonial poster of the 1899 Spring Exhibition With the composition of sculpture and painting and artwork and self portrait of the creating artist the concept of art is created on the poster idealized by romantic concepts of fate and longing for death The exhibition posters of J nos Vaszary in the turn of the century propagate his own symbolic painting and are also fine pieces of the current poster art with their decoratively stylized portrayal Fine, restored paper loss, fold marks and tears. Ink writing on the face. Backed on Japanese paper.

Etat : Generally near fine. Extensive collection of printed material from Virginia Dwan's legendary gallery, central site of Minimalism, Conceptualism, and Land Art movements of the 1960s. When Virginia Dwan opened the storied Dwan Gallery in a Los Angeles storefront in 1959, she (together with Ferus Gallery) helped establish Los Angeles as a nexus of the art world to rival New York or Paris. While Dwan's earliest exhibitions focused on certain established artists and Abstract Expressionists, by the early 1960s the gallery was increasingly showing Pop and Neo-Dada artists like Robert Rauschenberg, Claes Oldenburg, Yves Klein, Jasper Johns, Andy Warhol, and James Rosenquist. By the middle of the decade, and especially after establishing a second location in NYC in 1965, Dwan focused increasingly on major minimalist and conceptual artists such as Sol LeWitt, Carl Andre, Arakawa, Robert Morris, Dan Flavin and others eventually becoming the most important gallery to support landscape and other Earthworks artists like Robert Smithson and Michael Heizer. Though the gallery would last little more than a decade, its impact was enormous. Dwan not only exhibited and promoted her artists, she also funded their projects and it is not an overstatement to say that without the support of Dwan such canonical works as Robert Smithson's "Spiral Jetty" and Michael Heizer's "Double Negative" (which the artist eventually gave to Dwan) would simply not exist. Dwan was also a pioneer in creating promotional materials that were themselves works of art, frequently designed by the artists for conceptual works that otherwise often lacked any other physical manifestation. Highlights of the collection include an exceptional unfolded example of Michael Heizer's monumental poster for "Double Negative / 1,000' x 42' x 30 / 40,000 Tons Displacement," as well as the rare poster for Yves Klein's "Le Monochrome," one of the few shows mounted during his brief life and one that marked a turning point in the gallery's history toward minimalism and conceptualism. Other major documents include a beautiful copy of the innovative catalogue BOXES, a complete set of postcards from Dwan's groundbreaking series of "Language" shows, as well as early and important pieces from Larry Rivers, Claes Oldenburg, Sol LeWitt, Carl Andre, Robert Rauschenberg, Kenneth Snelson, Dan Flavin, Ed Keinholz, James Rosenquist, Lucas Samaras, Robert Ryman, and numerous others. The collection is in remarkable condition overall, with many of the posters unfolded. At 74 items, it is one of the largest groups of Dwan material of which we're aware. The Smithsonian holds a nearly complete collection, as does Bard both donated by Virginia Dwan herself. The next largest grouping we've found is at the Getty (which consists of 57 items), and after that we locate only scattered individual items. As such, this collection represents nearly two-thirds of all Dwan exhibitions mounted during its twelve-year reign, and one of the largest to come to market. A major opportunity to acquire a dense and representative overview of this pioneering gallery and curator. 74 individual items (posters, catalogues, invitations, flyers, etc.) ranging from postcard size to 36'' x 60''. All housed in three archival boxes, most stored flat or folded in clear mylar sleeves, a handful rolled. A complete inventory is available.

Etat : Fine. Ink sketch, signed "R. Crumb" with the date of [19]88. Image measures 8" by 7", framed to 15.75" by 13.75" A unique work of art, and to our knowledge never published. This original ink sketch of Bukowski by R. Crumb links one of the "preeminant underground cartoonist with one of the preeminent writers of his time, whose work provided a link between the Beat generation and the 1960s counterculture and beyond." "Crumb worked with Bukowski several times in the 1980s, illustrating two short books, 'Bring Me Your Love' and 'There's No Business', that were published by John Martin's Black Sparrow Press. Around the same time, Crumb produced three writers' portraits - Jack Kerouac, Allen Ginsberg, and William Burroughs - for a series of posters (and later t-shirts) entitled 'Meet the Beats,' published by Water Row press. This portrait of Bukowski was reported to its previous owner as having been prepared for a second round of author portrait posters, but was never used" (n.b., quotes from prior seller, name available upon request to serious purchasers). ___DESCRIPTION: Ink sketch of the head and shoulders or Bukowski, with a few spots of white-out visible where Crumb refined his sketch; image itself measures 8" by 7", this matted, off-white matt a shade different than the white of the sketching paper (matt approximately 15" by 13"), this in a plain black wood frame, done by Raven's Corner ("Museum Quality Framing") in Sacramento, CA (their label on the back of the piece), another label by the framer states "Conservation Clear U.V. Filtering". ___CONDITION: The sketch paper appears fine, with no toning, foxing, or visible wear. The matt also appears fine, the frame near fine with one small spot of wear at the bottom right corner. Please note that we have NOT examined this piece out of the frame. Also please note that in order to minimize glare from the glass covering the sketch, the pics were taken without lighting; therefore, while the paper looks ivory in the pics, it is much lighter to the human eye, a lovely soft cream. ___PROVENANCE: We have traced ownership of this item back through two prior owners and one ABAA bookseller; the first prior owner acquired the item from "Red's" shop, Baroque Books, in Los Angeles, California. Red Stodolsky had a special relationship with Bukowski, from whom (we can only assume) he acquired this sketch. The details regarding the prior owners and ABAA member are available upon request to serious parties. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Alphonse Mucha (illustrateur). Original antique travel poster for Monaco Monte Carlo by the notable Czech illustrator, graphic artist and painter Alphonse Mucha (Alfons Maria Mucha; 1860-1939) featuring a stunning decorative Art Nouveau floral design depicting a lady with flowing hair wearing a swirling dress looking up in front of trees, flowers and birds on circles, the blue Mediterranean Sea leading around the coast of the French Riviera with the Casino de Monte-Carlo and hills visible in the background, the stylised title text in bold lettering above. Affiches Artistiques de la Societe La Plume 31 Rue Bonaparte Paris Imp. F. Champenois 66 Bould. St Michel Paris. Large size. Good condition, backed with linen, fading. Size: 110x79cm.