Winkler, J[ulius]
Advertising card, 11.5 x 8.6 cm., pictorical color lithograph on recto, text on verso. Light wear, staining and light scuffing on verso, evidently from early adhesive. Very good. Chromolithographic card promoting the anatomical museum of Julius Winkler in Leipzig,featuring a centerpiece of an anatomical theater (mid-dissection), surrounded by images of jarred fetuses, a pair of conjoined twins, a sword swallower with an opened torso, and various surgeries and anatomical preparations. The verso describes a collection of more than 1000 pieces in areas of anatomy, embrology, pathology, surgery, and hygiene, including new exhibitions of "life-size bodies" depicting various epidemics, an "unsolved puzzle" and a "wandering corpse."Printed by Adolph Friedländer (1851-1904), the great Hamburg-based lithographer and publisher of posters of circuses and other entertainments. OCLC locates no copies. Rare.
Silverberg, Mark
Publisher's black cloth, spine lettered in silver, in color pictorial dust jacket. Light shelfwear to jacket, else fine. From the publisher: "New York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets."
Harvey, Gideon; Georg Ernest Stahl
[10],246 pp. plus frontispiece and two folding tables. In Latin. Early three-quarter vellum and speckled paper over boards, raised bands, manuscript paper title and shelf labels. Early shelf number inscription in front free endpaper, light institutional inkstamp in title page. Lightly rubbed, extremities worn. Very good. George Ernest Stahl's influential Latin edition of Gideon Harvey's ARS CURANDI MORBOS EXPECTATIONE (first published in English in 1689). Stahl published both ARS CURANDI and his own critical response, ARS SANANDI CUM EXPECTATIONE, with a combined title page under the heading, SILENI ALCIBIADIS. The present example corresponds with Waller 4082: Harvey's work alone, issued with the combined title and without a separate ARS CURANDI title leaf. Gideon Harvey (ca. 1640 ca. 1700) served as physician to Charles II and "physician of the tower" to William and Mary. Despite his connection to the Crown, Harvey was never a member of the College of Physicians and, during most of his career, operated in a hostile relationship with it. His ironically titled ARS CURANDI, CUM EXPECTATIONE ("The Art of Curing Diseases by Expectation") presents a series of "random criticisms of medical practice," which the DNB notes "acquired some reputation on the continent, through the patronage of a far greater man, George Ernest Stahl." While the DNB authors interpreted Stahl's approach to Harvey as sympathetic, his publication of ARS SANANDI and notes in ARS CURANDI are at least satirical. His allusion to Erasmus and Plato in the title of SILENI ALCIBIADIS suggests Stahl's view that behind the "ridiculous face" of doctors painted by Harvey was an opposite realitya profession "beautiful, serious, venerable."Cushing S383n. HEIRS TO HIPPOCRATES 455n. DNB XXV, p. 87.
[Joyce, James; Mary Ellen Bute (script treatment)]
11 x 8 1/2-inch leaves in an 11 1/2 x 9-inch folder. [4],58,[3] pp. Leaves in printed blue metal tab folder. Fine. PASSAGES FROM JAMES JOYCE'S FINNEGANS WAKE was the final film produced and directed by Mary Ellen Bute (1906-1983), a pioneer in experimental film and animation. Bute spent much of her early career developing a style of "visual music" in film, synchronizing abstract images and music. PASSAGES, a film treatment of FINNEGANS WAKE using Joyce's original language, was largely a live-action piece but incorporated animation, double exposures, and various other unconventional visual methods. UbuWeb describes it as follows: "A half-forgotten, half-legendary pioneer in American abstract and animated filmmaking, Mary Ellen Bute, late in her career as an artist, created this adaptation of James Joyce, her only feature. In the transformation from Joyce's polyglot prose to the necessarily concrete imagery of actors and sets, Passages discovers a truly oneiric film style, a weirdly post-New Wave rediscovery of Surrealism, and in her panoply of allusion - 1950s dance crazes, atomic weaponry, ICBMs, and television all make appearances - she finds a cinematic approximation of the novel's nearly impenetrable vertically compressed structure. With Passages from Finnegans Wake Bute was the first to adapt a work of James Joyce to film and was honored for this project at the Cannes Film Festival in 1965 as best debut." The film was shown in limited capacities until its final release in 1967. Its screening of its first rush print, for which the present volume was produced, took place February 16, 1965, at the Metropolitan Museum of Art before an audience of the James Joyce Society in celebration of Joyce's birthday. The James Joyce Society was inaugurated in 1947 at the Gotham Book Bart. Bute dedicates her film to Gotham's founder and owner, Frances Steloff.
Berrigan, Ted
135,[6] pp.Original pictorial wrappers. Wrappers moderately rubbed, light creasing in upper-outer corner of front wrapper, else near fine. Published in a limited edition of 750 copies. "Larry Fagin notes that he published this book with David Rosenberg, who was then an editor at Coach House Press (Toronto). Rosenberg was living in New York at the time, hence the listing for Coach House Presss on the colophon. Compiler's collection inicludes the manuscript for this book, a paperback cowboy novel that Berrigan altered by 'writing through' in different-colored inks. According to Fagin, Berrigan used a copy of TWENTY NOTCHES by Max Brand. The front cover . is a self-portrait of Berrigan . the rear cover is a picture of a cheeseburger that has been cut out of a magazine and pasted down. Alice Notley adds, Ted liked the idea of 'the range' being a stove and proceeded from there" - Aaron Fischer, TED BERRIGAN : AN ANNOTATED CHECKLIST (Granary Books, 1988), p. 53. Cover by Berrigan and George Schneeman.
Burt, Olive Woolley
xiii,[3],272 pp. Publisher's tan paper over boards, front cover pictorially stamped in black, in pictorial dust jacket. Rubbing and light scuffing to dust jacket, with small closed tears at upper edge and early pencil graffiti on rear panel and penciled price revision in front inner flap. Fine in a good to very good dust jacket. Olive Wolley Burt (1894-1981) was an American journalist, teacher, writer, and folklorist, best known for her works in juvenile literature and for the present work, her only book written for an adut audience. Burt had a lifelong fascination with true crime stories, noting that in her childhood her mother clipped "mournful verses from newspapers and saved them in a scrapbook" and would sing dark lullabies to her children. While workinig at the DESERET NEWS in Salt Lake City during the late 1940s and 1950s, Burt began to compile research on American murder ballads, leading to the publication of this extensive work, which in 1959 eanred a special Edgar Award from the Mystery Writers of America. The volume today is scarce.
Ashbery, John, Bill Berkson, Ted Berrigan, Joe Brainard, Kenward Elmslie, Dick Gallup, Barbara Guest, Kenneth Koch, Frank Lima, Frank O'Hara, Ron Padgett, Peter Schjeldahl, Jimmy Schuyler, and Tony Towle
11 inches. [108] pp. plus both covers printed recto and verso, all illustrated. Stiff pictorial wrappers, stapled. Mild wear and light toning in covers, small marginal stain on rear cover. Near fine. The second and final issue of the comics mimeo publication bridging the work of the first and second generations of the New York School poets, with art by Joe Brainard (except, it is noted, "Pat" : "Pat is totally a collaboration."). Clay and Phillips, p. 164.
Maclise, Angus & Francis Brooks (eds.), Bill Barker, "Mongolian," Akis Vostanis, Karma Jimba Tzammo, Balakrishna Sama, Katie McDonald, Petra Vogt, T. V. Kapali Sastry, Ira Cohen & Karma Samde Drolma
Folio (18 1/4 inches). [16] pp., including numerous woodblock illustrations (printed variously in black and red) plus 1 full-page woodblock print tipped in. In original pictorial wrappers, all on handmade rice paper. Small closed tears at head of front wrapper, light discoloration from original paste affixing large print, else fine. Numbered 102 of 150 copies. The second of three issues of TING PA, one of the early publications of the circle of American and European expatriate writers and artists living in Kathmandu during the 1970s. The woodblock illustrations include Himalayan and East Asian subjects, chiefly from religious traditions, as well as images drawn from the Rider-Waite Tarot.
Fulani, Richard
[3] volumes. 35; [4],31; 41,[1] pp. plus author's portrait and biography on recto of rear wrapper of third volume. Original stiff printed wrappers, stapled. Wrappers lightly worn and rubbed, else fine. The first three books of poetry by Richard Fulani, with covers printed, respectively, the pan-African colors of green, yellow, and red. The trilogy begins with Fulani's early poems, composed between 1968 and 1971, with the first part, DARK REFLECTIONS, considering on the breakthrough of new consciousness in the wake of the assassination of Dr. Martin Luther King, Jr., and the second part, SOULDIERS, being a tribute to contemporary African American leaders, "a few of the millions who have made it possible for us to be able to say such things as 'Black is Beautiful' and 'I'm Black and I'm Proud.'" DISCOVERY, REVOLUTION & UNDERSTANDING contains poems "dedicated to the 'endarkenment' needed to see through the blinding, white light," and SECOND THE EMOTION "is a book of feeling," dedicated to "[l]ove, in its broadest sense."
5 1/8 inches. 2 volumes. Both volumes [16] ff., including, after the title page, one illustrated phrase on each leaf, printed on rectos only, plus colophon on rear wrapper recto. Original color pictorial wrappers, stapled, in original printed envelope. Numbered and signed by the artist on the colophons. Envelope light scuffed and toned. Fine in a near fine envelope. Number 414 of a limited edition of 500 copies numbered and signed by the artist. The first publication in book form of two works both bearing the credit, "Englished anonymously from the Conton Dialect (1930) and illustrated by Edward Gorey." The book referred to is a real one: SELECT PHRASES IN THE CONTON DIALECT COMPILED (Canton, China: [s.n.], 1930), a now-scarce 54-page guide to Cantonese words and phrases for speakers of English, from which apparently all of the phrases in the present two works are drawn. The illustrations in both THE GRAND PASSION and THE DOLEFUL DOMESTICITY feature the same couple (plus a child and infant in the latter work) accompanying the phrases ("This flower has opened very beautifully," "That is the bad of it all," "A rat fell into the scales abd weighed itself," "Sweep the cobwebs a way," etc.). Their attire is not Chinese but Japanese, with some western elements. THE GRAND PASSION originally appeared in June 20, 1976, issue of THE NEW YORK TIMES MAGAZINE, and THE DOLEFUL DOMESTICITY originally appeared in the Summer 1991 issue of THE YALE REVIEW. Toledano A105, A106, and A107.
7 3/4 inches. 54,[2] pp. including six illustrations. Publisher's marbled wrappers, paper cover label. Fine. From a stated edition of 226 copies (200 numbered copies for sale, and 26 lettered and not for sale); this copy out of series and unnumbered. The first book publication of two stories Ronald Firbank wrote during his years at Cambridge, which first appeared in Cambridge's undergraduate magazine, THE GRANTA, in 1906 and 1907. In an unpublished memoir of Edward Gorey and the Albondocani Press, Albondocani founder George Bixby recounts approaching Gorey about illustrating the work: "I thought the Firbank stories would be an ideal project for illustrations by Gorey, told him about the stories, and asked him if he would be interested in making some drawings to accompany them. He was immediately interested. 'Firbank is one of my oldest passions,' he told me. In THE BLUE ASPIC, Gorey s spoof of opera, the hero, 'Jasper went without lunch three days running to buy Caviglia s recording of "Vivi con una mira" from IL FIORE SOTTO IL PIEDE." This title is a translation of THE FLOWER BENEATH THE FOOT, the title of one of Firbank s novels."Gorey initially produced two section title page drawings with title lettering lettering for the stories. After Bixby received the proofs of the of the text from printer William Ferguson in Cambridge, Massachusetts, he observed that because of the breaks in the stories, he was left with four pages that contained only half a page of text. Gorey volunteered to make four additional drawings to fill the spaces. "We had previously discussed a fee for his work, but he told me that since he _wanted_ to do the drawings for these stories he would leave it up to me to pay him whatever I could manage. Since the project was being done on a shoestring budget, I offered Gorey $100, and he accepted my offer without further comment." With a foreword by Firbank biographer and bibliographer Miriam J. Benkowitz. Benkovitz A26. Toledano B52b. From the collection of George Bixby.
6 3/4 inches. [16] illustrated leaves, printed recto only, each cut twice horizontally to form three new leaves. Original stiff pictorial wrappers, stapled, colophon printed on recto of rear wrapper leaf. Signed and numbered by the artist on the colophon. Fine. Number 495 of the first edition, limited to 526 copies (500 numbered copies for sale, 26 lettered copies reserved for the use of the artist and the publisher). An exquisite corpse-style "slice book," featuring various human and non-human figures each cut into three parts so that their heads, torsos, and legs can be combined in various ways. Interestingly, Gorey created the original drawings for the book already in "mixed" form. One of Gorey's eleven movable books and three cut-apart books. Toledano A81b.
5 inches. [34] pp., including 14 full-page illustrations. Original pictorial wrappers, stitched. Prospectus card laid in. Signed by the artist on the colophon. Fine. From a stated edition of 326 signed copies (300 numbered and for sale, 26 lettered and not for sale); the present copy is signed but out of series and unnumbered (one of ten additional copies beyond the order sent to Albondocani Press owner George Bixby by the printer). Edward Gorey's spoof - and near-verbatim recreation - of plates and captions in L. H. Bailey's 1910 MANUAL OF GARDENING : A PRACTICAL GUIDE . . In BORN TO BE POSTHUMOUS : THE ECCENTRIC LIFE AND MYSTERIOUS GENIUS OF EDWARD GOREY, Mark Dery relates that Gorey was first introduced to Bailey's MANUAL by Judith Cressy of Parnassus Book Service near Gorey's home on Cape Cod. When Cressy encountered the book, Dery writes, she found its illustrations "beautifully limned . but '_odd_. There'd be this funny little drawing of . _almost_ symmetrical plantings, but then there was this tree that was in the wrong place and there would be a caption that would say, 'A regrettable vista,' or something. It looked like an Edward Gorey drawing, and the caption was like an Edward Gorey caption. The whole book was full of these Edward Goreyisms that were done before he was born.' When Cressy showed Gorey some photocopies of the book's illustrations, ' he just whooped and rolled up the papers and tucked them in his pocket and ran away. He got it immediately.' The result was THE IMPROVABLE LANDSCAPE . , which Gorey dedicated to Cressy. A note-perfect send-up of Bailey's didactic MANUAL, it's a kind of cautionary tale for gardeners and landscape architects . " (p. 351-352). Toledano A92. From the collection of George Bixby.
[14] loose leaves, 6 inches, comprising [13] illustrated postcards illustrated and hand-colored on recto and captioned on verso and [1] colophon card signed and numbered by the artist. Contained in original colored pictorial envelope. Envelope lightly toned and mildly worn. Cards fine. Number 9 of the first edition, limited to 76 signed copies (50 numbered copies for sale, 26 lettered copies reserved for use of the artist and publisher). A set of postcards illustrating thirteen traits with an anthropomorphic lizard and the capital letter, "I": Inanity, Inconstancy, Indecency, Indecision, Indigestion, Indolence, Ineptitude, Innocence, Inquisitiveness, Insipidy, Insouciance, Inspiration, and Intractability. Edward Gorey hand-colored each of the 13 illustrated cards and the envelope in watercolor and several of the cards additionally in casein. "Of the several hand colored limited edition Gorey pieces created over the years, this is the Holy Grail" - Irwin Terry, GOREYANA. Toledano A75b. From the collection of Albondocani Press founder George Bixby.
![DARK REFLECTIONS AND SOULDIERS [with:] DISCOVERY](https://rarebookinsider.com/wp-content/uploads/2024/07/31495271886-1.jpg)