Maclise, Angus [ed.], Hetty Maclise, Olivia de Haulleville, Francis Brooks & Anje
Folio (15 inches). [10] pp., including in-text woodblock illustrations and 4 full-page woodblock prints tipped in. In original pictorial wrappers, all on handmade rice paper. Fine. Numbered 144 of 150 copies, with editor's manuscript note in colophon, "corrections: | print 2: Arhat | print 3: Yabyum." The first of three issues of TING PA, a periodical of "Nepali poetry and songs, Tibetan magics & mantras old and new - in translations - and of course our poets/freaks writing in their native tongue, and woodblock prints, a specialty of Kathmandu, both traditional and original" (colophon). The numbered prints, from woodblocks supplied by Ian Alsop and Francis Brooks and hand-printed in Swayambhu by Ato Tamting Sija, show figures of Tibetan and Nepali Buddhism: Dakini, Arhat, Yabyum, and "Dancing Skeletons" (Citipati).
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."
Fried, Edrita, Molly Harrower [et al.]; Chaim Gross (forward)
Publiisher's green cloth, spine titled in gilt, in printed dust jacket. Light foxing in front endpapers, else fine in a fine dust jacket. A longitudinal study prepared under the auspices of the Postgraduate Center for Mental Health by a group of six psychologists, psychiatrists, and therapists based at various institutions in New York and Madison, Wisconsin. The study follows "six creative people in the field of painting, sculpture, writing, and acting. Both the development of their personalities and of their work habits or attitudes towards work were studied over a three-year period. The book presents both clinical histories of the six artists and specific measurements of their movements during therapy. It is basically preoccupied with the question of whether an artist has to be neurotic to be creative . " (dust jacket).
Glover, E[mmanuel] Ablade
Broadside, 20 1/4 x 14 1/2 inches. Lithograph mounted to board. Mild rubbing and toning and moderate warping; 3/4-inch abrasion from apparent sticker removal in lower-left corner, affecting border. Good to very good. A visual guide to the symbolism of the Ghanaian linguist's staff, showing and describing 30 different finial motifs. In traditional Akan societies, linguists are the most important non-royal court officials, serving mixed roles as counselors, ambassadors, legal experts, and historians. Every linguist (okyeame) carries a wooden staff (okyeame poma), topped with a carved finial of a symbolic figure. "The symbol he carries is the symbol (usually proverbial) of the state he represents. Some depict animal or human forms while others depict just simple abstract forms. Whatever stands on that staff or stick represents the beliefs and aspirations of the entire state or clan. The staff itself is made of wood wrapped with either silver or gold leaf, or sometimes of solid gold or silver." The poster's artist, Ablade Glover (b. 1934), is one of Ghana's most celebrated artists, known chiefly for his dynamic, semi-abstract paintings of urban and market scenes. At the time of the present publication, Glover was serving in the Faculty of Art at the University of Science and Technology in Kumasi, Ghana (now, Kwame Nkrumah University of Science and Technology), where he retired in 1994 as Head of the Department of Art Education and Dean of the Department of Art. OCLC records one copy, at Northwestern University.
Moreno, J[acob] L.
xvi,440 pp., including numerous in-text charts, many printed in red and black. Original publisher's cloth, stamped in gold. No dust jacket, as issued. Head of front board bumped, else fine. First edition of the magnum opus of Romanian-American psychiatrist Jacob Levy Moreno (1889-1974), the pioneering work of sociometry that introduced the use of sociograms. The work, an answer to the dehumanizing promises of eugenics and technocracy, contains studies of voluntary interpersonal relationships formed at schools and other institutions, including the famous "Hudson study," conducted with Helen Jennings at the New York State Training School for Girls, a reformatory near Hudson, New York. Moreno dedicates the book to the school's superintendent, Fannie French Morse, "Educator and Liberator of Youth." "Moreno founded psychodrama, and pioneered group psychotherapy.Apart from its psychiatric and sociological significance, this work contained some of the earliest graphic depictions of social networks - data visualization methods later applied to numerous other disciplines. These images were later called sociograms" - Garrison Morton Norman 7700. "The weakest point in our present day universe is the incapacity of man to meet the machine, the cultural conserve, or the robot, otherwise than through submission, actual destruction, and social revolution. The eugenic doctrine, similarly to the technological process, is another promiser of extreme happiness to man. The eugenic dreamer sees in the distant future the human race so changed through breeding that all men will be born well, all accomplished by certain techniques through the elimination and combination of genes. The eugenic dreamer and the technological dreamer have one idea in common: to substitute and hasten the slow process of nature. In the face of the two vehicles of thought and power, eugenic rule and machine rule, man ought to call to mind their meaning: that they both aim to remove the center and the rule from within him, the one into a process before he is conceived, the other into a process which is conserved, both aiming to make him uncreative. Technology may be able to improve the comfort of mankind and eugenics may be able to improve the health of mankind, but neither is able to decide what type of man can and should survive. However, the acknowledgment of social attitudes and behavior, of the unity of mankind, and of the importance of social planning, may serve the survival of humanity" (p. 363).
Kirow, S. [i.e., Sergei Kirov]
19 cm. 62,[2] pp. Original pictorial wrappers, stapled. One-inch scratch on front wrapper, rear wrapper moderately soiled, leaves toned. Very good. "A Victory of World Historical Significance" A paper on the January plenary session of the Central Committee of the Communist Party of the Soviet Union, by Sergei Kirov (1886-1934), who served in the Committee. Kirov was an early Bolshevik revolutionary, Soviet politician, and close associate and supporter of Stalin. His assassination in 1934 provided a pretext for growing political repression by Stalin, culminating in the Great Purge.
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.
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.
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.
10 3/4 inches. 52 pp., containing numerous in-text photographic illustrations. Original printed wrappers, stapled. Wrappers miildly worn and toned, upper-outer corner bumped, else near fine. A 1929 illustrated catalog of goods manufactured by prisoners in Massachusetts for use in public institutions. The catalog opens with a printing of General Laws Chapter 127, Sections 53-60. Section 53 states, "The Commissioner shall, so far as possible, cause such articles and materials as are used in the offices, departments or institutions of the commonwealth and of the several counties, cities and towns to be produced by the labor of prisoners in the institutions named in section fifty-one." The articles and materials listed range from hosiery to children's cribs to manhole covers.
vii,183 pp. plus 20 mounted photographic plates (albumen prints) and 2 lithographic plates (including 1 map). Modern library label on front pastedown. Publisher's brown cloth, stamped pictorially in gilt, t.e.g. Binding bumped at sides and corners, rubbed at extremities; front hinge cracked, one plate neatly detached, some photographs faded, occasional light soiling and light scattered foxing. Overall very good, all tissue guards present. The author, Henry Cory Rowley Becher (1817-1885), was an English-born Canadian attorney, based for most of his career in London, Ontario. The present work, mostly a diary of his travels to and within Mexico in February and March, 1878, with an extensive appendix, was his only book. He was admiitted to the Royal Geographical Society in the year of its publication. The map shows the Mexican Railway in 1877, and the other lithographic plate depicts stone hieroglyphics at Copán and written hieroglyphics in Mexico City.
Small quarto. Single sheet folded twice. [4] pp. Lettered "HC" in contemporary red ink in the colophon. Near fine. The "deluxe" edition of a satirical poem composed by Christopher Morley and designed and printed by Lew Ney to help their friend and patron, Frances Steloff, founder and owner of Gotham Book Mart, during a moment of financial insecurity at the store in the mid-1930s. It "has been printed in this limited edition of 350 copies from Inkanabula type, imported from Italy. It was set by hand, and the type has been distributed." In the 1975 "Special Gotham Book Mart Issue" of JOURNAL OF MODERN LITERATURE (Vol. 4, No. 4), Frances Steloff describes the origin of the poem and its publication. One day in 1935, Steloff was dictating correspondence in the back of the shop, unaware that her friend and Gotham Book Mart regular Christopher Morley had stopped by. "He asked why I looked so glum, and I told him that I had been dictating dunning letters with the remark that if I could collect half of the outstanding accounts I could pay my rent and most of my bills. He asked if he could see a few of the letters, and I handed him the carbon copies. He then asked if he could borrow them. I was uneasy and thought that he might turn them over to an attorney, causing my customers embarrassment. He assured me that he just wanted to look them over and would return them on his next visit. In a few days he called up, 'Frances are you there?' Of course I was, and in a few minutes he was also, holding a page of manuscript. He asked excitedly, 'Are you familiar with the meter of the Rubaiyat?' I was, of course, as it had at one time been a favorite. He then read aloud the 'Rubaiyat of Account Overdue.' . . . Delighted with it, I decided to have it printed in two formats: a single page, to be sent with bills to all past due accounts, stating that a deluxe, autographed edition would be forthcoming on receipt of a check by return mail. That not only brought good results but also a problem - our prompt paying customers then felt it was more rewarding to be delinquent" (pp. 791-792). The present example of the poem was printed in its deluxe format, but not signed, and lettered, "HC" ("hors commerce"), rather than numbered, in the limitation statement. A fine survival from a touching and memorable chapter of the history of Gotham.
16 pp. plus 11 wood-engraved plates on 10 leaves (2 folding). Original printed self-wrappers. Light wear in outer leaves, half-inch closed tear at head of first leaf near fold, stitching largely absent, some toning. Near fine. Illustrated catalog of the Mechanical Museum of Georges Tietz, who exhibited his collection of automata (and, sometimes, wax anatomical figures) throughout Europe from the 1830s to the 1850s, with a visit to the U.S. in 1846. The catalog describes twenty exhibits of figures and tableaux, from marvels like a mechanical sun and a turbanned prestidigitator to scenes from the Bible, classical antiquity, and modern history like the behading of St. John the Baptist, Androcles and the lion, and the death of Marshal Lannes with Napoleon at the Battle of Aspern-Essling. The great centerpiece of the museum is the Elephant of Henri Martinet, which survives today at Waddeson Manor in Buckinghamshire. OCLC records three copies of a 23-page French edition supplied with a date of 1853, each copy bearing an imprint from a different city. Of these, the Reims imprint is available for view online at the website of the Bibliothèque nationale and shows twenty numbered tableaux and the same ten illustrations as the present edition. With fewer listed items and stronger plate impressions, the present edition (unrecorded on OCLC) appears to be earlier. Rare. From the collection of Ricky Jay.
