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Edité par Betty Ballantine, London, 1965
Vendeur : Festival Art and Books, Machynlleth, GWYNE, Royaume-Uni
Art / Affiche / Gravure Edition originale Signé
No Binding. Etat : Fine. No Jacket. Barbara Remington (illustrateur). First Edition. Betty Ballantine and now Barbara Remington have passed away making this a true historic piece. It was the cult status Tolkien first achieved in America on sale of millions of paperbacks, not in Britain, that would make him a household name by the late 60's. The Hobbit for example was not produced in paper inUK until 1961, Until 1966 his books only sold a few thousand copies a year, hardly a best seller. In fact the Tolkien society fan club first started in America, some five years before. Note, we were recently asked: we own the piece and as the seller, we left the letter addressed anonymously for the next buyer rather than to us. We are pleased to offer for sale, perhaps the most important original Tolkien related art piece. It is truly deserving as a museum piece representing a key turning point in the history of Professor Tolkien popularity. While Tolkien 's own art was used only in the Hobbit This is the original concept art submitted to Mrs Betty Ballantine for the 1965 Ballantine Books first paperbacks of The Hobbit and The Lord of the Rings books in America. It was also used for the promotional posters and banners for what was to become very popular editions. It was produced by artist Barbara Remington as a concept proof before the final colour version was approved. The medium is gouache on card, glued on illustration board with the original stock sticker on the reverse, It comes with a personal COA letter produced on my request . This iconic illustration also has a slightly infamous reputation as Tolkien did not like it initially, but this does not alter its importance to Tolkien lore as we know it today. In 1965 Ace Paperbacks in America released unauthorised editions of the Lord of the Rings Trilogy. This was due to a loophole in US copyright. The rush was then on for Houghton Mifflin, Tolkien' s US publisher in collaboration with Ballantine books to release authorised paperbacks of both The Hobbit and The Lord of the Rings. To close he copyright loophole, a new version of the LotR text was needed, in which Professor Tolkien set out to make changes eventually for the 1966 2nd edition. As was often the case, these revisions were quite delayed, forcing Ballantine Books to rush out a new edition of the Hobbit and using Barbara Remington artwork before she had actually read the books. Thus some of the strange figures in the artwork are not in the book. There was even a lion on the cover of the Hobbit PB until it was airbrushed out. During an interview with N Marion Hage and Andwerve, Barbara said- "I worked for Ballantine, and as a practice, always read the books before doing the artwork. I didn' t have this luxury with the Tolkien Books, Ballantine was in a hurry to get these books out right away. When they commissioned me to do the artwork, I didn 't have the chance to see either book, though I tried to get a copy through my friends. So I didn't know what they were about. I tried finding people that had read them, but the books were not readily available in the states, and so I had sketchy information at best." (As noted above, Barbara did make sketches relative to the books, afterwards, but she couldn' t get the publishers to see the point, something which is very regretful). Professor Tolkien was not impressed with the new Hobbit book cover. In a letter to Rayner Unwin, 12 September 1965, Tolkien wrote: I wrote expressing(with moderation) my dislike of the cover for. Please ask for a complete set of photos! Feel free to ask questions about collecting Tolkien books, we are here. Signed by Illustrator(s).
Edité par Paris: Éditions Albert Lévy, [1923-26], 1923
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
The original, highly finished artwork for the complete suite of pochoirs for the Verneuils' Kaléidoscope, "a masterwork of Art Deco design" (V&A website "The Kaleidoscopic Wonder of Art Deco Prints"). A visually spectacular document of what is widely recognized as one of the most brilliant of the art deco pattern books - a genre which Ray considered displayed art deco "in its purest form" (The Art Deco Book in France, p. 28) - a group remarkable for its artistry and almost equally for having survived close to a century complete. We have been unable to find records for any comparable archives on the market. The 20 sheets of Kaléidoscope contain 87 textile designs composed of "colourful, abstract motifs, which evoke, with their fragmented vocabulary, the dynamism of modern culture" (The Met web site) which were to exert a strong influence on the spread of art deco, becoming something of a toy box for designers for decades to come. Maurice Verneuil (1869-1942) began his artistic education in 1888, enrolling in the architectural section at the École nationale supérieure des beaux-arts in Paris. However, he was beguiled by the growing interest in ornament, and in 1892 joined the École Guérin where he fell under the influence of Eugène Grasset, one of the pioneers of art nouveau. Subsequently Verneuil became a skilful, mostly self-taught practitioner in a wide range of artistic disciplines - posters, furniture, marquetry, enamel, ceramics, batik, embroidery, photography and painting - and a leading theoretician of modern design in France, contributing illustrations and articles to Grasset's Art & Decoration and Albert Quantin's Le Monde moderne. In 1925 he was responsible for the publication of Étoffes et Tapis Étrangers, an illustrated study of the textiles exhibited at the Exposition Internationale des Arts Décoratifs et Industriels Moderne, one of the key publications of the exhibition that gave birth to the art deco movement. The work is credited on the title page to Maurice and "Ad. Verneuil", and it has been suggested that this refers to Adam, Maurice's brother. However his collaborator on this key project was in fact his wife Adélaïde, an attribution finally confirmed by Maurice's biographer Helen Bieri (Bieri, p.118). Adélaïde Verneuil de Marval (1898-1998), a Swiss artist, illustrator, bookbinder, and art critic, married Maurice in 1921, having been fascinated by his theories of design. By way of a honeymoon they made an extensive tour of Asia, bringing back a collection of prints and artefacts which was to influence their work thereafter, and from which Adélaïde donated a number of pieces to the Musée ethnographique de Genève. She is probably best known in her own right as a book illustrator, with a speciality in books on Buddhist themes. Much has been made of the fruitful convergence of the art deco period and the flowering of the pochoir technique, praised by Ray for its "subtle gradation" of colours. These original drafts reveal something of the process behind the creation of the Verneuils' innovative designs. Pencil annotations show that the plate order was changed for publication and at least two of the plates were printed inverted according to the original markings, and entire sections of two plates have been excised and neatly replaced with a new pattern. Overall the palette of the pochoirs shifts towards lighter, cooler tones, the colours of the gouaches are denser, more intense, and inevitably the line is tougher and more vigourous, the surface actively worked; these originals possess great presence. A perhaps unique opportunity to own the original artwork for one of the true masterpieces of the art deco era. Helen Bieri, Maurice Pillard-Verneuil: artiste décorateur de l'Art nouveau, 1869-1942, 2000; Deasy, "The Kaleidoscopic Wonder of Art Deco Prints", V & A web site, retrieved 13/12/2019); Ray, The Art Deco Book in France; Robinson, "Splendeurs de l'Art Deco"; Schneider-Henn, Ornament und Dekoration, 448 (wrongly identifying "Ad." Verneuil). 20 original designs, gouache over pencil on heavy paper stock (c. 440 x 345 mm), pencilled editorial annotations and alterations to the margins, two plates with carefully excised sections replaced with corrected designs, loosely corner mounted into recent window mounts for handling and display; with the published suite, title page and 20 pochoir plates executed by Jean Saudé, many - as in the originals - utilising metallics, without the original chemise. The two housed in a custom cream silk moiré solander case, illustration from the front panel of the original binding mounted on the lid. Paper lightly browned, a little more so at the margins, light soiling and few paint smudges, most sheets with some pinholes, occasional minimal chipping to the corners; some paint surfaces with mild flaking, otherwise in very good, unrestored condition.
Edité par UFA, 1926
Vendeur : BENITO ORIGINAL MOVIE POSTER, SITGES, Espagne
Art / Affiche / Gravure
METROPOLIS - 1926Dir FRITZ LANGCast: BRIGITTE HELMSUECIA - -70X100-Cm.-27X41-INCHES-1 SH.- ON LINENPOSTERMost 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. 25470.
Edité par PARAMOUNT, 1932
Vendeur : BENITO ORIGINAL MOVIE POSTER, SITGES, Espagne
Art / Affiche / Gravure
ILE DU DR. MOREAU, L¥ - 1932Dir EARLE C. KENTONCast: CHARLES LAUGHTONBELA LUGOSIKATHLEEN BURKEFRANCIA - -120X160-Cm.-47X63-INCHESPOSTERMost 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. 25470.
Edité par Cologne: Taschen., 2016
Vendeur : LUCIUS BOOKS (ABA, ILAB, PBFA), York, Royaume-Uni
Edition originale
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 8 colour 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.
Vendeur : The Raab Collection, Ardmore, PA, Etats-Unis
This was published in the work as the Preface to the final book; Written after the completion of the book and included and sent along with the final, the concluding touches on a shining literary career?The statement of principle, written for publication in virtual letter form, for a work of great importance in American literature and biography?Irving: The Work is ?the crowning effort of my literary career.??Washington Irving, Literary Giant and First American Professional Author & Biographer[video width="1920" height="1080" mp4="https://raab-collection-uploads.storage.googleapis.com/wp-content /uploads/20231204112747/Untitled-6.mp4" poster="https://raab-collection-uploads.storage.googleapis.com/wp-content/upload s/20231204112742/Screen-Shot-2023-09-28-at-1.39.53-PM.jpg"][ /video]?For Washington Irving, telling the story of George Washington was a lifelong passion. Irving?s mother named the future writer after Washington and took the boy to the hero?s first inauguration in 1789, where the President supposedly blessed him. It is said among the first things Irving ever wrote was on George Washington, whose biography he hoped one day to write.Washington Irving?s career as a writer started in journals and newspapers. He published Salmagundi (1807-08), and from 1812 -1814 was an editor of Analetic Magazine in Philadelphia and New York. In 1809 appeared Irving?s comic ?A History of New York?, by the imaginary Dietrich Knickerbocker, who was supposed to be an eccentric Dutch-American scholar. The book became part of New York folklore. Irving?s success continued with ?The Sketch Book?, a collection of stories that included the short stories for which he is so well known, ?The Legend of Sleepy Hollow? and ?Rip Van Winkle? The success of these stories allowed him to become America?s first professional writer, earning his living from the craft of literature.In 1828 he wrote his notable biography of Columbus, ?The Life and Voyages of Christopher Columbus,? which led the Spanish to elect him to the Royal Academy. In 1842 President John Tyler appointed him Ambassador to Spain, and he served in that position until 1845.After returning from Spain, Irving researched and wrote his great 5 volume magnum opus, his immortal ?The Life of George Washington?, which was published from 1855-59. He died just a few months later. It is perhaps the first great American biography and he the first prominent American biographer. As such it deserves a place in the literary history of the United States.In April 1859 Irving completed his ?Life of Washington.? It was the last literary work he would ever write and a book of monumental importance, as he died just seven months later. Perhaps he had a premonition, as in the famous Preface to Volume 5, he thanks the public for its acceptance of his work for over half a century, resigns his last volume to its fate, and warmly speaks of the pleasure preparing this biography of Washington has given him. Again, he speaks for himself.?The present volume completes a work to which the author had long looked forward as the crowning effort of his literary career. The idea of writing a life of Washington entered at an early day into his mind. It was especially pressed upon his attention nearly thirty years ago while he was in Europe, by a proposition of the late Mr. Archibald Constable, the eminent publisher of Edinburgh, and he resolved to undertake it as soon as he should return to the United States, and be within reach of the necessary documents. Various circumstances occurred to prevent him from carrying this resolution into prompt effect. It remained, however, a cherished purpose of his heart, which he has at length, though somewhat tardily, accomplished.?The manuscript for the present volume was nearly ready for the press some months since, but the author, by applying himself too closely in his eagerness to finish it, brought on a nervous indisposition, which unfitted him for a time for the irksome but indispensable task of revision. In this he has been kindly assisted by his nephew, Pierre Munro Irving, who had previously aided him in the course of his necessary researches, and who now carefully collated the manuscript with the works, letters, and inedited documents from which the facts had been derived. He has likewise had the kindness to superintend the printing of the volume, and the correction of the proof sheets. Thus aided, the author is enabled to lay the volume before the public.?How far this, the last labor of his pen, may meet with general acceptation is with him a matter of hope rather than of confidence. He is conscious of his own short- comings and of the splendid achievements of oratory of which the character of Washington has recently been made the theme. Grateful, however, for the kindly disposition which has greeted each successive volume, and with a profound sense of the indulgence he has experienced from the public through a long literary career, now extending through more than half a century, he resigns his last volume to its fate, with a feeling of satisfaction that he has at length reached the close of his task, and with the comforting assurance that it has been with him a labor of love, and as such has to a certain degree carried with it its own reward. Washington Irving. Sunnyside, April 1859.?Other manuscripts of Washington Irving are unsigned and fragmentary and situated in the middle of other sections, making this unique in our experience. It is signed, complete as a section, and a great summation of Irving's work and intent.
Edité par Herausgegeben von der Reichspropagandaleitung der NSDAP im Zentralverlag der NSDAP. Franz Eher Nachf. Druck: M. Müller und Sohn KG, München, 1942
Vendeur : ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, Etats-Unis
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.
Vendeur : Second Story Books, ABAA, Rockville, MD, Etats-Unis
Edition originale Signé
A collection of books, cards, posters, and other ephemera showcasing the diverse and prolific work of American writer and artist Edward Gorey (1925-2000). Gorey's first book, The Unstrung Harp, was published in 1953; over the course of his career he published dozens of works he authored and illustrated himself, and collaborated with other contributors on dozens more. Beginning in 1953, Gorey also worked for the publisher Doubleday Anchor as an illustrator and typography designer. Over the course of his career, he illustrated more than 200 books for Doubleday Anchor and other publishers. Gorey also provided artwork for promotional material for the New York City Ballet, WGBH Boston's Mystery! Anthology produced for PBS, the Boston Book Fair, and numerous other institutions and events. In addition to his work in print media, he was a noted costume and set designer, and won a Tony award for his costume designs for the 1977 Broadway revival of Dracula. This collection, assembled by Chris Bready of Baltimore, Maryland, includes the following: 89 primary works, or works authored by Gorey (Group A); 43 secondary works, or works created by Gorey and one other collaborator (Group B); Two tertiary works, or works in which Gorey was one contributor among many (Group C); 37 works for which Gorey provided typography and/or cover design (Group D); and A large collection of ephemera (postcards, posters, toys and games, calendars, etc.) bearing Gorey's designs, many created during his lifetime but some released after his death. Notably, the collection includes a first edition of every primary title written and illustrated by Gorey (with the exception of The Bug Book wrappers edition) and published prior to his death in 2000. Many of these are signed or inscribed. Also present is a generous sample of Gorey's illustration and typography design (including uncredited examples). The condition of the volumes in the collection is generally very good or better. Dust jackets are generally in good condition or better, often exhibiting light plus to moderate bumping, chipping, or tears and light plus to moderate age toning. Please see photographs for further details, and contact us with any additional questions. The full inventory is available upon request. Please note that this is a large collection, and additional postage will be required. Please inquire for rates. CB Consignment. Shelved upstairs. 1376397. Special Collections.
Edité par L'Estampe Originale., Paris., 1894
Vendeur : Sims Reed Ltd ABA ILAB, London, Royaume-Uni
Livre Signé
Square folio. (408 x 390 mm). [22 unnumbered leaves from 11 folded sheets]. Leaf with justification verso, blank, leaf with publisher's imprint verso, 16 leaves with Geffroy's text and original lithographs by Henri de Toulouse-Lautrec, all printed in olive green ink recto only, 2 blank leaves, final leaf with colophon recto. Sheet size: c.375 x 390 mm. Original publisher's printed wrappers with title and original lithograph by Toulouse-Lautrec to front wrapper, sheets held in by canvas cords. Toulouse-Lautrec's masterpiece, pre-dating Bonnard's 'Parallèlement' by some 6 years, and one of the earliest and greatest modern illustrated books. From the edition limited to 100 numbered copies on Arches, signed by Yvette Guilbert in green crayon. The silhouettes of the female entertainers such as Yvette Guilbert and Jane Avril had already appeared in Lautrec's 1892 poster Divan Japonais, and again in his illustrations for Georges Montorgueil's Le Café Concert of 1893. In the Yvette Guilbert volume, published the following year, Lautrec, in his 16 lithographs, depicts the singer in a variety of poses, her restless gestures breaking the narrow composition and stabbing into the text itself. Toulouse-Lautrec was known to oversee the printing process with care, often inking his subjects himself, and, when creating original lithographs - as here - drew directly on the lithographic stone. 'Yvette Guilbert, the famous singer in many cafés and revues of the nineties, was one of Lautrec's favourite subjects ? these sharply observed lithographs ? have immortalized her.' (The Artist and the Book). [Wittrock 69 - 85; The Artist and the Book 301].
Edité par Editions 213 / Steidl, Paris, 2015
Vendeur : Royal Books, Inc., ABAA, Baltimore, MD, Etats-Unis
Signé
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. 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.
Date d'édition : 1906
Vendeur : Manhattan Rare Book Company, ABAA, ILAB, New York, NY, Etats-Unis
Edition originale Signé
Etat : Very Good. First edition. INSCRIBED FIRST EDITIONS IN A PRESENTATION BINDING WITH ORIGINAL WRAPPERS BOUND-IN. AN IMPORTANT ASSOCIATION COPY, SIGNED AND INSCRIBED BY ALFRED STIEGLITZ TO J.B. KERFOOT: "To my friend J.B. Kerfoot who has so kindly helped me in making this volume what it is. Alfred Stieglitz. Dec 25/06." A set of the five issues for 1906 (including the Steichen Supplement), complete with all the plates including: -Number 13, January 1906, with three plates by Hugo Henneberg, four by Heinrich Kuhn, five by Hans Watzek; a Steichen poster for the Photo-Secession; text by F. Mathies-Masuren, Kuhn, Watzek, Charles Caffin, F.H. Evans, Kerfoot, and others.â â -Number 14, April 1906, with nine plates by Edward Steichen, four reproduced photographs by Stieglitz (on two plates) of exhibitions at 291, magnificent Steichen "Cover Design"; text by George Bernard Shaw, Kerfoot, and others. â â -Special Steichen Supplement, April 1906, with sixteen plates by Steichen; text by Maurice Maeterlinck.â â -Number 15, July 1906, with five plates by Alvin Langdon Coburn, one by Shaw, one by Steichen (his remarkable "Experiment in Three-Color Photography"), two by George Henry Seeley; text by Caffin, Roland Rood, Shaw, Kerfoot, and others. â â -Number 16, October 1906, with seven plates by Robert Demachy, three by C. (Emile Joachim Constant) Puyo, two by René LeBégue; text by Demachy, Caffin, Kerfoot, and others. On the recipient, J.B. Kerfoot: Kerfoot was an associate editor and a major contributor to Camera Work. "Next to Hartmann, the most frequent contributors in the magazine's first two pioneering years were Caffin, proofreader Dallett Fuguet, and columnist J.B. Kerfoot" (Sadarichi Hartmann, The Valiant Knights of Daguerre: Selected Critical Essays on Photography and Profiles of Photographic Pioneers). Kerfoot was an important figure in Stieglitz's career. In addition to being an important early collaborator, he later played a key role in helping Stieglitz obtain financial backing for Stieglitz's famed Gallery 291. "Before opening the gallery I called in my friend, J.B. Kerfoot, a literary critic of Life, when the original Life was still in its hey-day. I hadn't a cent of my own. My little capital I had blown in on the Photo-Secession and Camera Work and the like. I told Kerfoot I'd like to have a fund of twelve hundred dollars, five hundred to pay the rent, seven hundred dollars for light and printing and other overheard. So he invited George D. Pratt of the Standard Oil, who was interested in photography, and Herbert G. French, treasurer of Proctor and Gamble, who was a member of the Photo-Secession., his brother-in-law, Hunter, a collector of rare Japanese prints and early American glass, a wealthy man, married but without children, and, naturally, Haviland and one or two other people. It was all very impromptu and unofficial." (Alfred Stieglitz, Civil Liberties and the Arts: Selections from Twice a Year, 1938-48). New York: Alfred Stieglitz, 1906. 5 complete issues, including works by Stieglitz, Kuehn, Steichen, Coburn, Seeley et al. Thick quarto, custom presentation binding of stamped suede (with "CW" on front cover) over boards, with original wrappers bound-in. Housed is spectacular custom box by noted book artist Sjoerd Hofstra. Occasional scattered foxing (mostly to tissue margins). Hinges tender, cloth cover partially detached at upper spine, minor wear to extremities. Plates in general in outstanding condition. A SUPERB PRESENTATION VOLUME WITH MAGNIFICENT PHOTOGRAVURES. Seude over boards with original wrappers bound-in.
Date d'édition : 1930
Vendeur : Budapest Poster Gallery, Budapest, Hongrie
Art / Affiche / Gravure
Paper, collage, paint. Etat : Fine, large restored tears. Size: Pre-war 1 Sheet (cca. 95 x 63 cm). Reisen mit Waldbauer Koffer Original in German text on the poster is an original Modernist poster design by an important architect of the interwar period P l Vince from 1930 P l Vince originally P l Weiss 1909 1994 was born to a Jewish family in Budapest in 1909 and studied furniture design in the School of Applied Arts from the famous master Gyula Kaesz In the year of the poster s creation he left to Germany He started to study in Stuttgart by Adolf Schneck later he left to D sseldorf where he studied architecture by Emil Fahrenkamp He came back to Hungary in 1933 and built up a career as an interior designer in the 1930s His German architect diploma was not accepted in Hungary until after the second World War In 1944 he successfully escaped from the forced labor camp In 1945 he changed his name and continued to work as an architect This unique Art Deco design was created in Stuttgart as P l Vince Weiss at that time was studying there After WW2 he became a very successful architect in Hungary His philosophy was deeply rooted in Bauhaus principles His building interior and facade designs are clear modern compositions following the principles of constructivism and functionalism The Waldbauer company was working there since the early 20th century they produced luxury luggages The original design of Vince is very attractive with is elegant Art Deco style The surface is beautifully detailed the designer successfully represented the different materials with painting pencil drawing and sprayed paint This is a truly unique piece of advertising design history.
Edité par 1893-1939, 1893
Vendeur : Yushodo Co., Ltd., Fuefuki-shi, Yamanashi Pref., Japon
Membre d'association : ILAB
Livre
Hardcover. Etat : Very Good. 57 items in 52 vols + 1 box (printed poster).
Date d'édition : 1991
Vendeur : Art Wise, Brooklyn, NY, Etats-Unis
Art / Affiche / Gravure Signé
Etat : As New. "Frank & Glenn" by Robert Longo, Signed Lithograph printed in 1991 from an edition size of 10. The overall size of the Lithograph is 40 x 57.5 inches. The condition of this piece has been graded as A: Mint. Here is some supplemental information about the Lithograph: Lithograph in colors on wove paper. Artist proof signed and numbered in pencil out of 10 by Robert Longo. Signed. Art, Prints & Posters.
Vendeur : The Raab Collection, Ardmore, PA, Etats-Unis
He states his goal and strategy in writing this great work, this being the conclusion as sent to the printer?Other manuscripts of Washington Irving are unsigned and fragmentary and situated in the middle of other sections, making this unique in our experience. It is signed, complete as a section, and a great summation of Irving's work and intent.?Washington Irving, Literary Giant and First American Professional Author & Biographer[video width="1920" height="1080" mp4="https://raab-collection-uploads.storage.googleapis.com/wp-content/u ploads/20231204112756/Untitled-5.mp4" poster="https://raab-collection-uploads.storage.googleapis.com/wp-content/uploads/ 20231204112751/Screen-Shot-2023-09-28-at-1.30.13-PM.jpg"][/v ideo]?For Washington Irving, telling the story of George Washington was a lifelong passion. Irving?s mother named the future writer after Washington and took the boy to the hero?s first inauguration in 1789, where the President supposedly blessed him. It is said among the first things Irving ever wrote was on George Washington, whose biography he hoped one day to write.Washington Irving?s career as a writer started in journals and newspapers. He published Salmagundi (1807-08), and from 1812 -1814 was an editor of Analetic Magazine in Philadelphia and New York. In 1809 appeared Irving?s comic ?A History of New York?, by the imaginary Dietrich Knickerbocker, who was supposed to be an eccentric Dutch-American scholar. The book became part of New York folklore. Irving?s success continued with ?The Sketch Book?, a collection of stories that included the short stories for which he is so well known, ?The Legend of Sleepy Hollow? and ?Rip Van Winkle? The success of these stories allowed him to become America?s first professional writer, earning his living from the craft of literature.In 1828 he wrote his notable biography of Columbus, ?The Life and Voyages of Christopher Columbus,? which led the Spanish to elect him to the Royal Academy. In 1842 President John Tyler appointed him Ambassador to Spain, and he served in that position until 1845.After returning from Spain, Irving researched and wrote his great 5 volume magnum opus, his immortal ?The Life of George Washington?, which was published from 1855-59. He died just a few months later. It is perhaps the first great American biography and he the first prominent American biographer. As such it deserves a place in the literary history of the United States.Irving?s Assessment of Washington and the Revolution:_The Complete Original Manuscript For the Concluding Remarks of Volume 4Washington: ?He fought for a cause, but not for personal renown.?Here he provides his assessments of Washington the man, Washington the leader, the Revolutionary War and the American cause. It is a virtual guide on how to view these, full of insights and valuable perspectives.Autograph Manuscript Signed of this entire conclusion, at once both literary and biographical, sent by Irving to Putnam and retained by the latter. ?In the volumes here concluded, we have endeavored to narrate faithfully the career of Washington from childhood, through his early surveying expeditions in the wilderness, his diplomatic mission to the French posts on the frontier, his campaigns in the French war, his arduous trials as commander-in-chief, throughout the Revolution, the noble simplicity of his life in retirement, until we have shown him elevated to the presidential chair, by no effort of his own, in a manner against his wishes, by the unanimous vote of a grateful country. The plan of our work has necessarily carried us widely into the campaigns of the Revolution, even where Washington was not present in person; for his spirit pervaded and directed the whole, and a general knowledge of the whole is necessary to appreciate the sagacity, forecast, enduring fortitude, and comprehensive wisdom with which he conducted it. He himself has signified to one who aspired to write his biography, that any memoirs of his life, distinct and unconnected with the history of the war, would be unsatisfactory. In treating of the Revolution, we have endeavored to do justice to what we consider its most striking characteristic; the greatness of the object and the scantiness of the means. We have endeavored to keep in view the prevailing poverty of resources, the scandalous neglects, the squalid miseries of all kinds, with which its champions had to contend in their expeditions through trackless wildernesses, or thinly peopled regions; beneath scorching suns or inclement skies; their wintry marches to be traced by bloody foot- prints on snow and ice; their desolate wintry encampments, rendered still more desolate by nakedness and famine. It was in the patience and fortitude with which these ills were sustained by a half-disciplined yeomanry, voluntary exiles from their homes, destitute of all the ?pomp and circumstance? of war to excite them, and animated solely by their patriotism, that we read the noblest and most affecting characteristics of that great struggle for human rights. They do wrong to its moral grandeur, who seek by commonplace exaggeration, to give a melodramatic effect and false glare to its military operations, and to place its greatest triumphs in the conflicts of the field. Lafayette showed a true sense of the nature of the struggle, when Napoleon, accustomed to effect ambitious purposes by hundreds of thousands of troops, and tens of thousands of slain, sneered at the scanty armies of the American Revolution and its ?boasted allies.? ?Sire,? was the admirable and comprehensive reply, ?it was the grandest of causes won by skirmishes of sentinels and outposts.??In regard to the character and conduct of Washington, we have endeavored to place his deeds in the clearest light, and left them to speak for themselves, generally avoiding comment or eulogium. We have quoted his own words and writings largely, to explain his feelings and motives, and give the true key to his policy; for never did.
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Unbound. Etat : Very Good. Photomechanically reproduced typescript. 196 quarto and folio sheets printed mostly rectos only, with intermittent page numbering and several groupings of pages stapled or paper clipped together, and with slips of paper containing edits taped to occasional sheets. The pages consist of photomechanically reproduced copies of Hoffman's edited typescript pages submitted to the publisher (we suspect in parts) with the editor's original pencil and ink edits to the copied pages as well as proofreader's markings in blue pencil. The manuscript is accompanied by a tattered light blue envelope ("John C. Meyer & Son Inc. Typographers") with "Woodstock Nation Manuscript" written large in black marker on the front and underneath it in smaller letters "Concert Hall," which was the name of the company that edited and designed the book, as well as having produced the Woodstock Festival program. Overall near fine with some scattered creasing and typical nicks and tears at the edges, most noticeable on the folio sheets. The suitably chaotic typescript of Abbie Hoffman's *Woodstock Nation*, a rambling, stream of consciousness-style recounting of the era-defining 1969 Woodstock Music and Arts Festival, where Hoffman famously interrupted The Who's performance while high on an LSD trip, to rant about the imprisonment of White Panther Party leader John Sinclair, before being knocked down by an angry Pete Townshend. Hoffman feverishly wrote the book in the month between the end of the Woodstock Festival and the beginning of his trial as a member of the Chicago Eight, charged with inciting a riot at the 1968 Democratic National Convention. The manuscript shows hundreds of changes and corrections in the text made by Hoffman, including several variations of a chapter title, an excised pseudonymous author citation ("Agent 12 - Yippie Conspirator"), and evidence of how several of his previously published articles were integrated into the text. The editor's handwritten notations are numerous with corrections throughout, including additions to the end of several chapters, and instructions to the designer for innovative ways to display the text and photo placement. There are also a few additional pages left for a planned promotional poster, a publisher's advertising card, and the list of photo credits. A few small but significant additions to the text in blue pencil at the ends of a few chapters are added in an unknown hand. While there is some evidence they could be in Hoffman's hand, we could not definitively prove who wrote the hastily produced scrawl (although we are comfortable in our assertion that drugs were likely involved). While this contemporary copy of Hoffman's original edited draft was used by the book's editors, we have been unable to turn up evidence or reference to any other copies, leading us to believe that this is the only extant copy, despite there being institutionally housed archives of Hoffman's papers at the University of Connecticut, New York Public Library, and a recent acquisition by the University of Texas at Austin. It is certainly possible that the editors of the book compiled the manuscript from the various sources that Hoffman sent along and then discarded the piecemeal submissions. With a letter of provenance from the wife of Michael Forman, who worked at Concert Hall Publications as the editor of the official program of the Woodstock Music and Arts Festival, and who served as a co-editor on *Woodstock Nation*. Hoffman gifted the manuscript to her on one of his visits as a token of friendship. A significant and likely unique manuscript of Hoffman's second book, written in the brief period between two of the most important events of his eventful life.
Date d'édition : 1971
Vendeur : Shapero Rare Books, London, Royaume-Uni
Signé
The complete portfolio, comprising ten screenprints in colours, 1971, on Schoellers Parole paper, each signed in pencil, dated and numbered from the edition of 200 (there were also 25 artist's proofs), with the title and justification pages, contained in the individual screenprinted folders and original black cloth-covered portfolio box, printed by Domberger KG, Bonladen, published by Multiples, Inc., New York, 101.5 x 83.5 x 5 cm. (portfolio size) Including: The American Dream; The Calumet; Yield Brother; The Figure 5; The Brooklyn Bridge; Mississippi; USA 666; Parrot; Black and White Love; and Terre Haute No. 2 The present portfolio is one of Indiana's most autobiographical works. Created in 1971, the 'Decade' series is a reflection back on the artist's previous ten years, which was a pivotal period for popular culture and the US as a nation, as well as his own career. The artist considered this work as a continuation of his earlier 'American Dream' series, which was the first time Indiana began to incorporate images taken from pin-ball machines, billboards and American road signs in order to blend the literal with the visual to make 'a comment on the superficiality of American life,' as Indiana once described. Looking at the individual works in the series, 'The Brooklyn Bridge' uses the iconic emblem of New York to refer to the view from Indiana's studio that he had on the Slip in Manhattan. A self-described 'American painter of signs,' Indiana's 'USA 666' is a clear reference to American railway signs, the bright yellow being used to draw attention to the danger at crossing points. The numbering reminds us of Route 66, an important American highway loaded with nostalgic symbolism from literature and popular songs. It also carries a more personal reference; the number six relates to the digits of his father's birth month and the 'Philips 66' sign of the gasoline company that employed his father. Undeniably, 'Yield Brother' is inspired by the stencilled lettering of military signage. This creates a tension between its call for peace and its visual look of a military poster, which recalls the 1960s anti-war movement in America that Indiana strongly supported. Sheehan 63-72.
Date d'édition : 1893
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Art / Affiche / Gravure Signé
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 (the parties later fell out and sued each other in a bitter legal dispute), 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.
Edité par PARAMOUNT, 1942
Vendeur : ORIGINAL LOBBY CARD, Ribarroja, VA, Espagne
Art / Affiche / Gravure
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.
Edité par n.p., 1988
Vendeur : Swan's Fine Books, ABAA, ILAB, IOBA, Walnut Creek, CA, Etats-Unis
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.
Edité par No Publisher, London, 1669
Vendeur : Temple Rare Books, Oxford, Royaume-Uni
Edition originale Signé
Hardback. Etat : Very Good. First Edition. A collection of one hundred and twenty-seven documents signed by Pepys and other prominent members of the Navy Board, with twenty-seven being signed by Pepys. Dated between 29 January 1668/9 and 18 December 1669, and arranged chronologically. Tipped onto boards, guarded, and handsomely bound into three volumes by Sangorski and Sutcliffe. Full blue crushed morocco, raised bands, spines in six panels, title lettered directly to second panel, volume number to third, name to fourth, remaining panels with a double fillet gilt border surrounding a single fillet frame with roundel corner pieces, covers with single fillet gilt border and double fillet frame surrounding a single fillet frame with roundel corner pieces, representation of Pepys' book plate in gilt to centre of covers, dotted line roll to edges, single fillet border and two line frame, joined by fleuron corner pieces, to inner edges, a.e.g., marbled endpapers and pastedowns. Couple of minor bumps to fore edge of first volume, very minor rubbing to extremities, indentation to upper cover of volume three, otherwise bright and clean. Each volume with manuscript title page, the documents generally in good order, occasional cropping and wear to margins, with occasional holes, small chips and minor discolouration, one or two browned. There are forty-two documents in the first volume, forty in the second, and forty-five in the third, with the final twenty-seven in this volume being the ones signed by Pepys. A series of administrative documents giving a picture of the working of the Navy Board in 1669 under Samuel Pepys. Samuel Pepys (1633-1703) was made Clerk of the Acts of the Navy on 13 July, 1660. The Board controlled most of the material needs and manpower of the navy. His initial principal colleagues were Sir George Carteret, the Treasurer; Sir John Mennes, the comptroller (and signer of forty-eight of the documents here); Sir William Batten, the surveyor; and Sir William Penn. "Carteret and Mennes had been gentlemen captains, while Batten and Penn represented the alternative brand of tarpaulins , whose claim to naval command was based on experience rather than heredity and court connection. Pepys, who was neither a gentleman nor a tarpaulin, entered office with due deference to both sorts. He soon formed a prejudice (borrowed from Sandwich) against the gentlemen , and paradoxically perpetuated the notion of a division in the officer structure which in fact became blurred, not a little by his own efforts. Having been made welcome by his older colleagues, within a short time he came to despise most of them for what he considered their inefficiency and corruption. Batten, Penn, and Mennes would be the particular targets of venomous epithets which Pepys's most sympathetic biographers have found difficult to square with his pervading geniality. It is perfectly true that Mennes and the Sir Williams were not well suited to the chores of bookkeeping and accountancy in which Pepys delighted, and he was soon able to outsmart them in points of detail. He made it his business very quickly to learn the multifaceted work which had fallen his way. He engaged a tutor to improve the arithmetic he needed to follow the international finance on which the naval supplies depended. He made himself expert in the weights and measures of the goods themselves, talking to dockyard storekeepers, carpenters, and boatswains, getting to know all the wonderful wheezes and scams which could turn the king's shilling into a pretty penny" (Knighton in the ODNB). Sir John Cox (d. 1672), naval officer and administrator. In 1660 Cox had been appointed master attendant at Chatham Dockyard, responsible for all ships held in the harbour, later being appointed to the same post in Deptford. By 1669 he had returned to Chatham, replacing Peter Pett. He was killed at the battle of Solebay in 1672. (See MacDougall in the ODNB). Many of the other signatories of the documents in this collection naturally figure promi. Signed by Author. Ephemera.
Date d'édition : 1919
Vendeur : Budapest Poster Gallery, Budapest, Hongrie
Art / Affiche / Gravure
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 Fil.
Date d'édition : 1938
Vendeur : Budapest Poster Gallery, Budapest, Hongrie
Art / Affiche / Gravure
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.
Edité par (1922 / 1923)., (The Hague)., 1922
Vendeur : Sims Reed Ltd ABA ILAB, London, Royaume-Uni
Livre
(300 x 300 mm). Lithograph in red with additional printing in black recto only on thin newsprint paper, the full sheet, never folded; sheet size: 300 x 300 mm. An excellent example, never folded, of the first issue of the iconic 'kleine dada soirée' poster. This programme / poster by Théo van Doesburg and Kurt Schwitters details the events for the travelling show they had devised towards the end of 1922. Their proposed tour of Holland was to start in The Hague in December 1922 but had to be postponed due to problems with Schwitters' passport. On January 10th, 1923, Schwitters and van Doesburg appeared at the Haagsche Kunstkring (the details are at the upper right of the poster together with the address 'Binnenhof 8') and the performance featured van Doesburg's 'dadasofie', 'ragtime-dada' by Erik Satie and Schwitters' sound poetry. The chaotic typography of the poster, in typical dada style, features random capitalisations, variations in typography, the text at variable and peculiar angles, manicules, small vignettes, a quotation from Tristan Tzara etc., all against a background with 'dada' printed in red. 'DADA EXISTE DEPUIS / TOUJOURS LA SAINTE / VIERGE DÉJÀ FUT / DADAÏSTE'. (From the poster). It is thought that Piet Zwart, a member of the Kunstkring attended that first performance, and over the following three months a further 13 performances were held in different cities. The basic form for each event included van Doesburg reading from his booklet 'Wat ist Dada?', Schwitters making animal noises (barking like a dog or cooing like a dove) from the audience before reading his own works, van Doesburg's wife Nelly - she appeared under the stage name 'Pétro' - would play musical selections and the fourth collaborator, Vilmos Huszár, projected on a screen the moving figure of a mechanical dancer. 'We opened in den Haag in Konstruktixistik manner. Doesburg read a very good dadaistic programme, in which he said the dadaist would do something unexpected. At that moment I rose from the middle of the publik and barked loud. Some people fainted, and were carried out, and the Papers reported that Dada means barking.' (Schwitters quoted in Dada and Surrealism Reviewed). A second issue of the poster was produced later with the address at upper right ('Haagsche K[unst]. K[ring]. / Binnenhof 8') replaced with details of a subscription for van Doesburg's 'Mécano': 'Abonnement Mécano 5 Fr. per Jaar'. 'DADA EST CONTRE / LE FUTUR DADA / EST MORT DADA / EST IDIOT, VIVE / DADA! DA / DA N'EST PAS / UNE ÉCOLE LITTÉ / RAIRE HURLE. / TRISTAN TZARA'. (From the poster). 'The poster / program 'Small Dada Evening' is a carefully orchestrated visual cacophony. Information is difficult to discern in this nonhierarchical [sic] composition of red and black lettering distributed pell-mell across the white page. The work was printed in two passes through the press . 'Small Dada Evening' is a tricky piece of graphic design, a playful tease falling somewhere between communication and Dadaist self-subversion. The sheet doubles as a poster advertising the Dada Soirées that toured Holland in 1923 and as a program for the Soirées' proceedings, but even while it claims these dual functions, it undermines them . 'Small Dada Evening' is not a poster in the traditional sense. It may be better understood as a visual emblem of the Dutch Dada tour, a graphic encapsulation of the soirées and of Van Doesburg's and Schwitters' particular brands of Dada.' (Christian Larsen). [see 'Dada in the Collection of the Museum of Modern Art', New York, 2008, pp. 102 - 105; see Ades pp. 125 - 126 which describes the series of 'kleine dada soirée' performances (but without naming them) in Schwitters' words].
Edité par THEODORA PRODUCTIONS, 1957
Vendeur : ORIGINAL LOBBY CARD, Ribarroja, VA, Espagne
Art / Affiche / Gravure
LA CURVA DEL DIABLO - 1957Dir: CORNEL WILDECast: CORNEL WILDEJEAN WALLACEMARY ASTORMEXICOL.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.
Date d'édition : 1956
Vendeur : Mad-Museum, Velleron, France
Art / Affiche / Gravure Edition originale
Pas de couverture. Etat : Comme neuf. Edition originale. "EXPOSITION PICASSO VALLAURIS 1956" Affiche originale entoilée tirée en linogravure par Imp. ARNERA Vallauris en 200 exemplaires non numérotés (1956) / Signée au crayon rouge de la main de PICASSO en plus de la signature imprimée dans la planche / Format entoilé: 69x103cm / Parfait état /// Original poster on linen (Linocut 1956 / printer ARNERA Vallauris)/ The edition was not numbered per piece, but we know there were only 200 printed. There are two signatures on this piece, one from the plate that was printed and one in red crayon hand-signed. / Size on linen: 69x103cm / Perfect condition.
Date d'édition : 1912
Vendeur : Mad-Museum, Velleron, France
Art / Affiche / Gravure Edition originale
Pas de couverture. Etat : Très bon. Edition originale. "LES MISÉRABLES" Réalisé par Albert CAPELLANI en 1912 d'après le roman de Victor HUGO avec Henry KRAUSS (Jean Valjean), Henri ETIEVANT (Inspecteur Javert), Marie VENTURA (Fantine) Maria FROMET (Cosette), Léon BERNARD (Monseigneur MYRIEL) MISTINGUETT (Eponine), Gabriel de GRAVONE (Marius de Pontmercy), Emile MILO (Thénardier) Eugénie NAU (la Thénardier), GAUDIN (Gavroche) / Affiche originale française entoilée / Litho ATELIER FARIA (PATHE Frères 0/ S.C.A.G.L. (1912) / Format entoilé: 316x236cm / Très bon état /// Original french poster on linen / Litho ATELIER FARIA (1912) / Size on linen: 316x236cm / Very good+ condition.
Date d'édition : 1978
Vendeur : Bauman Rare Books, Philadelphia, PA, Etats-Unis
Edition originale Signé
First Edition. CLAVÉ, Antonio, FINI, Léonor, LINDNER, Richard, MARINI, Marino, MASSON, André, RIVERS, Larry, WUNDERLICH, Paul Wunderlich and WYETH, Jamie. Metropolitan Opera Fine Art. New York: Metropolitan Opera Society and Circle Gallery, 1978. Double elephant folio (23-1/2 by 31-1/2 inches), leaves laid loose in original portfolio, as issued. $28,000.Deluxe limited first edition, number IV of only 25 copies with eight enormous poster-size prints for eight different operas by eight different artists, each signed and numbered by their respective artist.The eight works, each signed and numbered "IV" by their respective artists, are as follows:Antonio Clavé Carmen. A five color embossed intaglio print editioned at the atelier Maurice Rousseau in Monaco. One of 25 on hand-made Japanese paper.Léonor Fini Tristan und Isolde. A twelve color serigraph editioned at Serigraphie Michel Caza. One of 35 on hand-made Japanese paper.Richard Lindner Der Rosenkavalier. A twenty-two color lithograph editioned at American Atelier, New York City. One of 25 on hand-made Japanese paper.Marino Marini Lat Traviata. An eleven color lithograph editioned at Mourlot, Paris. One of 25 on Rives Moulin de Gué paper.André Masson Don Giovanni. A nine color lithograph editioned at Mourlot, Paris. One of 25 on Rives Moulin de Gué paper.Larry Rivers Madama Butterfly. A mixed-media print of eight colors in lithography and three colors in serigraphy, editioned at Styria Studios, New York City. One of 25 on hand-made Japanese paper.Paul Wunderlich Aïda. A five color lithograph editioned at Mattieu Ag, Dielsdorf, Switzerland. One of 25 on BFK Rives paper.Jamie Wyeth La Bohème. A sixteen color lithograph, editioned at the American Atelier, New York City. One of 25 on BFK Rives paper. There was also an edition of 250 copies. Fine condition. Signed.
Vendeur : The Raab Collection, Ardmore, PA, Etats-Unis
Obtained from the Akeret descendants, it has never before been offered for sale[video width="1920" height="1080" mp4="https://raab-collection-uploads.storage.googleapis.com/wp-cont ent/uploads/20231204112732/einstein.mp4" poster="https://raab-collection-uploads.storage.googleapis.com/wp-content/uploa ds/20231204112728/YouTube-Thumbnail-5.jpg"][/video]?Herman Landshoff started working as a photographer in Germany in 1930. He emigrated to Paris in July 1933 after Hitler came to power. In 1935 he received his first commissions as a fashion photographer for the French fashion magazine Vogue. In 1941 Landshoff emigrated to the United States. Soon he was able once again to pursue his work as a fashion photographer and to work for major fashion magazines in New York. He also made portraits of many Europeans in exile in the New York area, thereby documenting the art scene of the time. The three main aspects of Landshoff?s work were fashion photography, architectural photography and portraits. In New York, he was part of a circle of artists who had fled their countries for political reasons and who had gathered under the auspices of Peggy Guggenheim. He photographed his Surrealist friends Marcel Duchamp, Piet Mondrian, Andr? Breton, Fernand L?ger, Max Ernst and Leonora Carrington in Guggenheim?s house with her artwork collection as a background. He also photographed artists like Alexander Calder and Eva Hesse in their studios as they interacted with their own work. Over the years he took some 70 portraits of his fellow photographers, including Arnold Newman, Robert Frank, Berenice Abbott, and Edward Steichen. Landshoff was highly respected by his peers, with his work prompting the American photographer Richard Avedon to claim ?I owe everything to Landshoff.?From 1946-1950, Landshoff visited Albert Einstein at his home in Princeton, New Jersey numerous times to take his photograph. Twelve portraits of Einstein and one photograph of the exterior of his house resulted from these visits, and these came to comprise the folio published in 1980 under the title ?Albert Einstein at Home, Princeton, 1946-1950.? So the names Einstein and Landshoff are connected.Robert and Ann Akeret were friends of Landshoff. Robert received a doctorate from Columbia University and his certificate in psychoanalysis from the William Alanson White Institute, where he trained with Rollo May and Erich Fromm. He served as a President of the Association of Psychoanalytic Psychologists. He wrote five books: Not by Words Alone, Photoanalysis, Family Tales, Family Wisdom, Tales from a Traveling Couch, and Photolanguage. He also appeared on national talk shows, including The Tonight Show, to promote his books.This is one of the twelve Landshoff photographs of Einstein, signed by Einstein at Landshoff?s request and presented to his friends. It is an oversize photograph, 11 by 13 inches, inscribed and signed ?A. Einstein, [19]50, for Robert and Ann Akeret.? We obtained this from the Akeret descendants, and it has never before been offered for sale. Affixed to a light board.
Edité par Rochester, Caldwell [i.e. Lake George] and Ogdensburg, NY, 1855
Vendeur : James Cummins Bookseller, ABAA, New York, NY, Etats-Unis
Signé
Together, 6pp. Etat : Usual folds. Together, 6pp. Among the earliest Susan B. Anthony letters we have encountered, the present correspondence relates directly to the beginnings of her work advocating for women's suffrage. Anthony was introduced to Elizbeth Cady Stanton in 1851 and attended her first women's rights convention the following year, quickly rising to become one the leaders of the movement. In the summer of 1854, focus turned to New York State, where legislative petitions were drafted for both suffrage and for equal property rights. "The work in the State of New York was now thoroughly systematized. Susan B. Anthony was appointed General Agent, and it was decided to hold a series of Conventions in all the counties and chief cities of the State, in order to roll up mammoth petitions with which to bombard the Legislature at every annual session. Two appeals were issued to the women of the State, one in June, prepared by Mr. Channing, and one in December, by Mrs. Stanton. A number of able speakers joined in the work, and the State was thoroughly canvassed every year until the war, and petitions presented by the thousands until the bill securing the civil rights of married women was passed in March, 1860" (Stanton, et. al. History of Woman Suffrage, I:p.619). In order to keep pressure on the legislature to consider the petitions, besides the aforementioned conventions, Anthony began a grassroots speaking tour through upstate New York in the winter of 1854-1855, a model that she would eventually employ to build the movement nationally. "At the close of 1854, Miss Anthony decided to make a thorough canvass of every county in New York in the interest of the petitions to the Legislature, a thing no woman ever had dreamed of doing." After receiving a $50 donation from Wendell Phillips to fund the trip, "with this money in her pocket, and without the promise of another dollar, she started out alone, at the beginning of winter, to canvass the great State of New York . The plan adopted was to hold these meetings every other day, allowing for the journey from place to place; but whenever distances would permit, one was held on the intervening day. Occasionally Miss Anthony had the assistance of another speaker, but more than half the meetings were conducted with the little local help she could secure. In the afternoon she would read half of her one and only speech and try to form a society, but there was scarcely a woman to be found who would accept the presidency. In the evening she would read the other half, sell as many tracts as possible and secure names to the petitions. In almost every instance she found the sheriff had put up her posters, inserted notices in the papers, had them read in the churches and prepared the courthouse for her . Most of the towns never had been visited by a woman speaker, and wagon-loads of people would come from miles around to see the novelty" (Harper, I:, pp. 122-124). The present small archive concerns the arrangements for such a meeting, comprising her correspondence with Edwin Clark, the owner of Eagle Hall in Ogdensburg, arranging to rent the space for March 1, 1855 and sending the text for a circular. She writes on February 8, 1855: "Will you rent your hall for a Woman's Rights Meeting on Thursday evening March 1 - on what terms - if your hall cannot be had what one can - Will you see that Handbills are printed and properly posted & that notice is inserted in your City papers- please answer at your earliest convenience and I will send you form of Notice of Bill." Included in the group are retained drafts of Clark's replies. He writes on February 13th, stating that the hall can be rented for ten dollars and that "the printers here will print and circulate or post any bill you may require." Anthony then replies, on February 22, from Caldwell [i.e. Lake George], thanking Clark for the reply and writing: "I will be there at that time. Enclosed is a form of handbill, which you will please hand to the most liberal of your printers, or the one you think will be most faithful in having the Bills thoroughly posted, and the one who will give Editorial notice of the meeting. I will settle all bills at the time of meeting, shall go from Malone to Ogdensburg on Thursday A.M. If possible, please have notice of the meeting given at your churches on Sabbath - also in your schools." The enclosed proposed handbill, signed within the text by Anthony, reads: (Form of Handbill) Woman's Wrongs Susan B. Anthony / of Rochester / Will Speak on the /Recurring, Legal & Political / Disabilities of Woman / at Eagle Hall / On Thursday Evening March 1st / at 7 O'Clock / Admission 12-1/2 cts The lecture in Ogdensburg, however, never took place, with Clark replying to Anthony's letter on February 27: "Yours of the 22d did not come to hand till late this evening which I must regret as I engaged the Hall (only last night) . for Thursday Evening and his notices will be published in the papers to day . The Hall is not now engaged for any other evening and if any other will answer please advise me and I will see the printers print and circulate the bills." Harper recounts the hardships of that 1855 speaking tour during one northern New York's coldest and snowiest winters. Quoting from Anthony's journal, she recounts the difficulties of getting from small town to small town via sleigh and particularly notes the difficult trip to Ogdensburg at the end of February 1855, where she was staying with a cousin: "The next morning she hardly could move and the women of the family had to help her make her toilet. Nothing they could say would persuade her to remain; she was advertised to speak at Canton and proposed to do it if she were alive, so she was carried out, put into a sleigh and driven seventeen miles actually doubled up with her head on her knees" (Harper, I:p. 127). Anthony built the grassroots methods that would eventually lead to the movement's success during these early years. Her entry in the American National Biograp.