From the category archives:

20th-Century

The late 19th and early 20th centuries were periods of major change and important historical events throughout the United States, as well as key developments in photography technology. Life could be documented in a way that was never possible before, both physically and economically. Photography allowed for more precise archiving than either lithography or engraving. Roger Fenton and Philip Henry Delamotte were among the first photographers to demonstrate the immense potential photography carried for chronicling important events with their images of the Crimean War and the construction of the Crystal Palace in London for the Great Exhibition of 1851.

Daguerreotypes were introduced in 1839 as the first complete practical photographic process, and remained the most common commercial process until the late 1850s, when the collodion process took over in popularity. This new process produced glass negatives which could be replicated multiple times, unlike the daguerreotype which resulted in a single, unique image. It was also relatively inexpensive compared to daguerreotypes, as the daguerreotype process required expensive polishing equipment and costly silver-plated copper for producing the images. Often printed on albumen paper, the collodion print took two forms, wet and dry, the former which necessitated a darkroom and was more popular with portrait photographers, the latter which required much longer exposure time and therefore was more often limited to landscape photography. Ambrotypes and tintypes are examples of photographs produced via the collodion process.

During the 1880s, gelatin dry plates largely replaced the collodion process. Utilizing glass plates with a dry emulsion of silver suspended in gelatin was more convenient and could also make more sensitive images. The first dry plate factory, the Eastman Film and Dry Plate Company, was established in 1879, a reflection of the popularity of the process. In 1884 Eastman developed dry gel on paper, or film, replacing the photographic plate and with it the necessity of carting around boxes of glass plates and chemicals. And in July 1888 Eastman’s first Kodak camera was put on the market, allowing anyone to take a photograph and let someone else do the processing. Photography went even more mass-market in 1901 with the introduction of the Kodak Brownie camera.

F.A. Bernett currently has for sale several collections of interesting and important early American photography which correspond to and reflect these important changes and developments in the photographic process and the increasing commercial availability of photography equipment.

 

 

 

 

 

 

Collection of 19 Vintage Cabinet Card Views of the 1889 Johnstown Flood. Group of 19 cabinet cards by a local photographer, R.Y. Nice of Williamsport, Pennsylvania, depicting the aftermath of the famous flood and subsequent damage in the town of Williamsport, including Nice’s studio and other local commercial buildings partially underwater, townspeople navigating the streets in rowboats, birds-eye views, and scenes of destruction and debris, some with captions incised into the negatives. Cabinet cards with mounted albumen prints measuring 4″ x 6 1/4″, numbered 2 through 20 in the lower left corners, some with Nice’s name printed on the mount. Williamsport, Pennsylvania 1889.

The Johnstown Flood was the worst flood to hit the United States in the 19th century, causing the deaths of 2,209 people and the destruction of 1,600 homes. It was the largest loss of civilian life the United States had seen up to that point. The flood was one of the first major disaster relief efforts to be handled by the newly-founded American Red Cross, under the leadership of Clara Barton. (48214)

 

 

 

 

 

 

 

Mather’s Historical Oil Region Views of Western Pennsylvania. Part I. Mather’s Historical Photographs. Mather, John A. 14 leaves, 2 pages of text, 1 engraving, and 11 original gelatin linen-backed photographs regarding the drilling of the Drake Well by Col. Edwin L. Drake in 1859, the first oil well ever drilled in the United States, scenes and figures depicted in the photographs include a portrait of Edwin Drake, Drake at the well, oil traders, and the surrounding areas of “Oil Creek” including Foster Farm, Funkville, John Wait Farm, and John Benninghoff Run. Spine slightly shaken. Oblong 4to. Black cloth boards. Titusville, Pennsylvania (John A. Mather) 1895. Ink inscription on front endpaper “Miss Margaret Bond from Mrs E. Mather, Christmas 1905”

Edwin Drake was hired by the Seneca Oil Company in 1858 to investigate suspected oil deposits in the Titusville region of Pennsylvania. Prior to this, petroleum oil was known of, but there was not yet a market for it. Drake began drilling, with pipe and steam, but progress was slow and the Seneca Oil Company had pulled their backing. Using his own money and that of friends, Drake persevered and on the morning of August 28th, after months of drilling at the rate of approximately three feet per day, Drake’s driller looked into the hole and saw crude oil. The Drake Well prompted the first big investments in the petroleum industry and additional drilling in the area that became known as Oil Creek, ushering in the Pennsylvania oil rush.

John A. Mather was the pioneer photographer of Pennsylvania’s Oil Region. Hearing of the exploding activity in the Oil Creek Valley, Mather and his wife moved to Titusville in 1860 where he began working with a series of makeshift traveling darkrooms/studios. He transported his equipment through the oil fields by ox-pulled wagon or flatboat, and sold his photographs to a local audience. During his years photographing the Pennsylvania oil rush, he amassed a collection of over 20,000 glass plate negatives. However, due to damage from floods and fires, only 5,000 have survived to this day, preserved in the collections of the Drake Well Museum. Scarce; as of February 2017, WorldCat locates only three holdings in North America. (48619)

 

 

 

 

 

 

 

Photograph Album Documenting the Aftermath of the 1906 San Francisco Earthquake. Collection of approximately 99 original black-and-white photographs showing the destruction caused by the earthquake and resulting fires, and the subsequent clean-up and reconstruction efforts, most pages with hand-written captions, with specific sites depicted including the Ferry Building, Market Street, burning buildings, refugee camps, City Hall, the Hearst Building, the Palace Hotel, gutted churches, rubble, and relocated shops, some photos with signature for R.J. Waters & Co. and caption within the plate, label affixed to inside front cover for Waters Company, San Francisco. Photos overall in very good condition. Various sizes to 8″ x 10″. Photos affixed to album leaves with photo corners and small dots of glue, many photos already loose, all pages detached from album. Oblong 4to. Cloth album. San Francisco (R.J. Waters & Co.) circa 1906.

The 1906 earthquake struck the coast of Northern California at 5:12 am on April 18th, with a magnitude of 7.8. Over 80% of the city of San Francisco was destroyed as a result of the quake and the subsequent fires, with 30 different fires destroying 25,000 buildings across 490 city blocks within three days. An estimated 3,000 people died. Initially only 375 deaths were reported, due in part to hundreds of ignored and unreported fatalities in Chinatown. To this day, it is still the deadliest natural disaster in California’s history. Up to 300,000 people were also left homeless out of a total population of 410,000, with some refugee camps remaining open for over two years. (48636)

  

 

 

 

 

 

Collection of Original Photographs of Alaska. Album comprising approximately 500 original photographs of various formats, the majority taken in and around the copper mining town of Kennecott, Alaska, during its heyday in the 1920s, including the Bonanza, Jumbo, and Erie mines, nearby towns such as Cordova, McCarthy, and Ruby, hunting and skiing trips, dogsledding, Eskimos, railroads, the Childs, Columbia, and Kennicott glaciers, and steamships, with 21 most likely unpublished photographs captioned “Mt Logan Alaska 1925 – June / Guided by Andy Taylor, Famous Alaskan Guide” being of particular interest, depicting the first successful expedition to the summit of Mt. Logan in the Yukon Territory, Canada’s highest peak, with photographs showing the team setting up camp, loading their sleds, and trekking, together with several pieces of ephemera including a telegram, a Pacific Line steamship catalog, and a newspaper clipping. Original album disbound and trimmed to fit, with original album pages and hand-written captions intact, some original photo corners replaced. Small folio. Housed in two contemporary albums. N.p. (Kennecott, Alaska), circa 1920s.

A geologist first approached the Alpine Club of Canada in 1922 with the idea of sending a team to summit Mt. Logan. A team of Canadian, British, and American climbers was assembled, and their trip was delayed from 1924 to 1925 due to delays in funding and preparation. They began their trip in early May, journeying from the Pacific coast by train, and then traversed the remaining 120 miles on foot to the Logan Glacier, where they established base camp. On June 23, 1925, the team of Albert H. MacCarthy, H.F. Lambart, Allen Carpé, W.W. Foster, Norman H. Read, and Andy Taylor became the first people to stand atop the summit of Mt. Logan.

The Kennecott Mines were discovered around the turn of the century, and confirmed as the richest known concentration of copper in the world at the time in 1901. Five different mines turned out incredible amounts of copper, at their peak generating $32.4 million worth of ore in a single year. The highest grades of ore were largely depleted by the early 1930s, with the mines closing gradually. The last train left Kennecott on November 10, 1938, leaving it a ghost town. In the 1980’s, the town became a tourist destination, and was designated a National Historic Landmark in 1986.  (48621)

 

 

 

 

 

 

 

 

 

 

A Picture Journey to Farms in Idaho, Washington, Oregon. Spokane, Washington.- Pacific Northwest Farm Trio. 62 pp. promotional photo album containing 72 mounted silver gelatin photographs of farms, orchards, crops, and related agricultural activities from farms throughout the Pacific Northwest, each page with a typed descriptive caption below the photo, some of the photographs signed within the negative, known photographers include Asahel Curtis, Bradbury Williams, and Arthur Prentiss. One of the photographs coming loose, several pages with small tears to margins, some minor warping and toning of pages. Oblong 8vo. Leather. Some bowing to covers, rubbing and small losses along extremities, small splits at spine. Spokane, Washington (Pacific Northwest Farm Trio General Offices) n.d. (circa 1930).

The Pacific Northwest Farm Trio comprised the publications The Washington Farmer, The Idaho Farmer, and The Oregon Farmer. The views depicted in this album include apple farms in Washington, the Hood River Valley, the Willamette Valley, the Yakima Valley, tractors and farm machinery, harvesting and packing apples, planting wheat, cows on a dairy farm, sheep, chickens, turkeys, Arrowrock Dam, irrigation, vegetables, strawberry plants, and orchards. Very scarce; as of March 2017, this title is not listed through WorldCat. (48654)

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The Works Progress Administration (WPA) was the largest and most ambitious agency created by the United States government as part of the New Deal, established under President Franklin Delano Roosevelt to help combat the Great Depression, focusing on the “3 Rs” of Relief, Recovery, and Reform: relief for the poor and unemployed, recovery of the economy, and reform of the financial systems already in place to help prevent another depression. In total, over 100 offices were created – some established by Congress, such as the Tennessee Valley Authority, and some through Roosevelt’s presidential executive orders, including the WPA.

The goal of the WPA, headed by Roosevelt’s close friend Harry Hopkins, was to create jobs for millions of Americans who were eligible for employment. The WPA operated in conjunction with state and local governments, which helped cover a percentage of the costs and provided supplies, while the WPA was responsible for the majority of costs and for the workers’ wages.  

Between 1935 and 1943, the WPA employed more than 8.5 million workers to carry out public works projects including the construction of hundreds of thousands of miles of highways and roads, bridges, reservoirs, irrigation systems, parks, playgrounds, and over 125,000 public buildings including hospitals and schools. Notable projects built under the WPA include the Lincoln Tunnel, LaGuardia Airport, and the San Francisco-Oakland Bay Bridge. A smaller division of the WPA, called Federal Project Number One, employed musicians, artists, writers, actors, and directors for arts, drama, and media projects.The WPA program was ended on June 30, 1943, due to low employment because of the worker shortage caused by World War II.

During the Great Depression, unemployment in the city of Milwaukee was at roughly 40 percent, and in 1933 an astonishing 53 percent of property taxes went unpaid because people couldn’t afford to make their payments. The WPA launched the Milwaukee Handicraft Project in 1935, under the direction of Elsa Ulbrecht, the Fine Arts Director of Milwaukee State Teachers College, with the goal of creating by hand high quality educational materials for schools that taught arts and crafts. The project hired roughly 5,000 workers and taught them to make a variety of wood and cloth items including dolls, toys, furniture, rugs, curtains, book-bindings, quilts, textile prints, and costumes. The women were assigned to specific production units, each led by an experienced artist or designer. The items were then sold at cost to educational and tax-supported institutions, including the Milwaukee Public Schools, libraries, and local hospitals.

The Milwaukee Handicraft Project was one of the most successful and innovative of the WPA’s various programs. The vast majority of workers hired by the WPA for its public relief projects were white men, but the Milwaukee Handicraft Project attempted to balance this disparity. Most of the workers hired for this program were uneducated and unskilled women of all ages and nationalities, many of whom had never held a job. A large number did not even speak English. Only certain jobs were considered appropriate for women at the time, and so Harriet Pettibone Clinton, the District Director of the Women’s Division of the Wisconsin WPA, deliberately chose to create a project in which the vast numbers of unemployed women could freely participate.

The WPA also sent a group of 300 African-American workers to participate in the project, intending them to have a segregated workspace. However, the program directors were opposed to this idea and insisted that the women and minorities work side-by-side. The integrated workforce made the Milwaukee Handicraft Project unique in its progressive and forward-thinking mindset.

One of the production units was the blockprinting unit, which grew out of the bookbinding unit when the lead designers decided to create decorative book covers using linoleum block prints. They created patterns which the workers then transferred to linoleum blocks and cut away to create stamps. These blocks were then inked and stamped onto paper and fabric. They were designed to be labor-intensive, so as to help guarantee the women with many hours of paid work. F.A. Bernett currently has in its inventory a suite of six portfolios displaying samples of the various handmade blockprinted textiles created in the workshops of the Milwaukee Handicraft Project.

Applied Design: Blockprinted Textiles. An Educational Service Prepared by the Milwaukee WPA Handicraft Project. Milwaukee.- Milwaukee WPA Handicraft Project. 6 vols: I. Surface Patterns; II. Surface Patterns; III. Motifs; IV. Border Designs; V. Motifs; VI. Supplement, comprising a suite of portfolios containing 72 total examples of matted blockprinted textiles in a wide variety of patterns and styles, including figures, animals, birds, botanical, and geometric designs, the back of each matte stamped “WPA Handicraft Project #7040, Milwaukee Wisconsin, Sponsored by Milwaukee County and Milwaukee State Teachers College”, the inside front cover of portfolios 1-4 and 6 labeled “This portfolio was made by the Milwaukee Handicraft Project, Sponsored by Milwaukee County and Milwaukee State Teachers College, Wisconsin WPA”, portfolio five stamped “WPA Handicraft Project #8601, Milwaukee Wisconsin, Sponsored by Milwaukee County and Milwaukee State Teachers College”. Portfolios 1-3 folio, 4-6 elephant folio. Green cloth-covered boards portfolios, contents loose as issued. Milwaukee (Milwaukee WPA Handicraft Project) n.d. (circa 1935). Ex-library copy with bookplates, labels to covers, rubber ink stamps to portfolios and mattes, and pencil acquisition notations to mattes. (48655)

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Cuba, OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America), 1971 and 1972 

Extensive and Culturally Significant Archive of Approximately 500 Political Posters. An important, unique, and carefully curated collection of political posters, dated from approximately the 1960s to the 2000s, from a wide variety of leftist and militant groups in Europe, the Middle East, Asia, and Latin America, related to a broad range of domestic and international movements and issues, providing an essential overview of the global political climate at the time with regards to radicalism, solidarity, and liberation. Some with scattered soiling, marginal tears, tack holes, and other minor losses, overall excellent condition. Various sizes. Various cities, 1960s-2000s.

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France, MRI (Mouvement Revolutionaire Internationaliste), 1980s

This collection documents a vital period in the history of both Western Europe and Third World countries in the second half of the 20th century, a time of political upheaval, domestic terrorism, radical left-wing groups, and liberation movements. The posters that make up this collection can be roughly divided into three categories. First, a large number of the posters document the struggle of the militant left at home within Europe, with movements from Germany, Belgium, France, the Netherlands, Spain, Italy, and Ireland covered including Antifaschistische Aktion, RAF (Red Army Faction), RZ (Revolutionäre Zellen), Secours Rouge, CCC (Cellules Communistes Combattantes), CPN (Communist Party of the Netherlands), Kraakbeweging, RVF (Rood Verzetsfront), AFAPP (Asociación de Familiares y Amigos de Presos Politicos), Moviment de Defensa de la Terra, FRAP (Frente Revolucionario Antifascista y Patriota), Circolo Lenin Catania, Sinn Féin, and the Irish Republican Army. These posters cover a range of issues, including the treatment of political prisoners, hunger strikes, anti-capitalism, anti-imperialism, anti-NATO, urban development, housing shortages, squatters, election reform, the women’s movement, and the labor movement.

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Netherlands, Communistische Partij van Nederland, Circa 1965

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Ireland, Irish Republican Movement, Circa 1980

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Germany, Autonomen Gruppen/Antifaschistische Aktion/RZ (Revolutionäre Zellen), 1984

A second large group demonstrates the solidarity of Western European groups for the assorted liberation movements and uprisings happening across the Third World. These include posters from CISNU (Confederation of Iranian Students National Union), Chili Komitee Nederland, Komitee Jongeren Voor Vietnam, MPLA (People’s Movement for the Liberation of Angola), Inlichtingen Angola-Comité, Palestina Komitee, Solidariteits Komitee Argentinie Nederland, UJPA Belgique (Union des Jeunes Progressistes Arabes), Collectif Pour la Libération de Georges Ibrahim Abdallah, Comité Catalá de Solidaritat Internacionalista, Asociacion de Amistad y Solidaridad con El Pueblo Saharui, Halkin Kurtulusu, MPP (Mouvement Populaire Perou), Association de Solidarité avec Timor Oriental, and MRI (Mouvement Revolutionaire Internationaliste).

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Netherlands, Palestijnse Vereniging, 1976

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Spain, Circa 1980s

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Netherlands, MPLA (People’s Movement for the Liberation of Angola), Circa 1975

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Netherlands, Vietnambeweging Delft, Circa 1973

Lastly, the third group of posters represents the political climate within the Third World countries themselves, including organizations such as the Cuban group OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America), FMLN from El Salvador (Farabundo Martí National Liberation Front), Partido Comunista del Peru, ASALA (Armenian Secret Army for the Liberation of Armenia), FATAH (Palestinian National Liberation Movement), PLO (Palestine Liberation Organization), PFLP (People’s Liberation Front of Palestine), GUPW (General Union of Palestinian Women), PKK (Kurdistan Worker’s Party), YJWK (Patriotic Women’s Union of Kurdistan), ERNK (National Liberation Front of Kurdistan), and YAJK (Free Women’s Army of Kurdistan).

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“Either Palestine…Or Hell”, Palestine, FATAH (Palestinian National Liberation Movement), 1983

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El Salvador, FMLN (Farabundo Martí National Liberation Front), 1980s or 1990s

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Peru, Partido Comunista del Peru, 1986

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Palestine, P.L.O. (Palestine Liberation Organization), Department of Information and Culture, 1980s

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Le Bal des Quat’z’ Arts: Revelry and Debauchery in Turn of the Century Paris

September 8, 2015

“It is a riot, a revival of paganism…It is also, in its way, a hymn to beauty, a living explosion of the senses and of the emotions.” – E. Berry Wall, Neither Past Nor Puritan In 1892, Henri Guillaume, Professor of Architecture at the École nationale supérieure des Beaux-Arts in Paris, proposed that the students […]

The École de Montmartre in 1920’s Paris

August 17, 2015

              Paris in the late 19th and early 20th century, especially during the periods known as the Belle Époque and les Années Folles, was a hotbed of intellectual and artistic life. During the former, Montmartre was abuzz with cafés, cabarets, and artists’ studios, with a large number of painters […]

Charlie Hebdo’s Ancestors

January 23, 2015

  Journalism in France has a rich tradition of political satire and caricature, dating back many hundreds of years and gaining footholds at many crucial moments in France’s history. Popular in the 17th century, Molière and Jean de la Fontaine earned their fame mocking the upper echelons of society through comic plays or fables, often […]

Under the Matzos Tree.

May 9, 2014

52 Examples of Jewish-American Sheet Music from the Early 20th Century. A collection of English-language sheet music, ca. 4-8 pp. each, in orig. color illus. wrrps., most published in New York, Boston, Chicago, Cleveland, or Los Angeles, ca. 1900-1920. (47699) “Under the Matzo Tree: A Ghetto Love Song,” “Yiddle on your Fiddle Play Some Rag […]

Contest of Realism. Novyi Lef.

Thumbnail image for Contest of Realism. Novyi Lef. March 11, 2014

Novyi Lef. Zhurnal Levogo Fronta Iskusstv. Year 1, No. 1 (January 1927) through Year 2, No. 12 (December 1928) (all published). 24 issues, published in 22 vols. as issued, comprising a complete first edition of the Soviet avant-garde monthly designed by Alexandr Rodchenko under the editorial direction of Vladimir Mayakovsky, followed by Sergei Tret’iakov, each […]

This Invitation Cannot Be Sold or Transferred.

Thumbnail image for This Invitation Cannot Be Sold or Transferred. January 21, 2014

Collection of Invitations, Programs, Flyers, Posters, Broadsides and other Ephemeral Items pertaining to the Palladium nightclub, June 1985 – May 1987. ca. 170 items ranging from single sheet to folding invitations, pop ups, and physical objects, executed in print processes including letterpress, stencil, silk screen, and off-set lithography, most in vibrant color. Items ranging in […]

Weltkrieg: German Artists Respond to the Great War.

Thumbnail image for Weltkrieg: German Artists Respond to the Great War. February 15, 2013

Collection of 14 World War I Print Portfolios by German Artists.  Including works by René Beeh, Emma Frenberg, Karl Bober, Bruno Kraustopf, Ursla Stolte, Paul Hartmann, Elsa Weigandt, Erich Dietrich, Hilde Schindler, Georg Mathen, Editha Quaas, Joshua Bampp, Paul Winkler, Josef Eberz, Fritz Gärtner, Erich Gruner, Willi Geiger, Carl Christoph Hartig, Luigi Kasimir, Hermann Struck, […]

Conjuring Pan: Julius Meier-Graefe’s darkly beautiful paean to the new currents of art in Europe, 1895-1899.

Pan. Cover detail. March 22, 2012

Pan.  Years I-V (all published). Edited by Julius Meier-Graefe and Otto Julius Bierbaum.  A complete run of all five years, bound in 21 parts as issued  (altogether 347, 351, 266, 267, 279 pp.)  Sm. folio.  Orig. wrpps., a few chips and tears at edges, some covers professionally repaired.  Berlin (Genossenschaft Pan) 1895-1899.  (45601) In the […]

“Sem au Bois” Update: The Jockey Club de Paris, ca. 1908.

Thumbnail image for “Sem au Bois” Update: The Jockey Club de Paris, ca. 1908. June 7, 2011

“And if you happen to be an historian of Belle Epoque Paris (clever you) and recognize anyone among the caricatures, please let us know in the comments field…”

— UPDATE, May 2011:

When first I wrote about Georges “Sem” Goursat’s 1910 leporello Sem au Bois about a year ago, I ended the post with an invitation, asking readers to share any insights they might have as to the real-world identities of the faces caricatured in Sem’s well-heeled crowd of Boulogne woods revelers.

Last week, Pablo Medrano Bigas, Associate Professor of Design and Image of the imatge de diagramacióFaculty of Fine Arts at Universitat de Barcelona answered the call. Clever him, indeed. And lucky us — not only has he positively identified several of the processional’s key figures, he’s also supplied a wealth of historical background information to further our understanding the illustration’s form and content.

Postcards from the Edge

Thumbnail image for Postcards from the Edge April 22, 2011

Artists’ postcards from the collection of Ulises Carrión, comprised of approximately 900 individual items in 108 small edition sets (most 50-500 copies) by Günter Brus, Stempelplaats, Nickolaus Urban, and Gabor Toth, among others, many signed by the artists and addressed to Carrión.  [44030] Without so much as an envelope to keep their contents private, postcards […]

30 Year in Face 800 Year in Heart: In Memoriam Walasse Ting.

My Shit and My Love December 20, 2010

Brussels. Galerie Smith. My Shit and My Love: Ting. 1961. Signed by Ting on inside front cover; limited to 1099 copies. $250 [46359] Walasse Ting died at the age of 80 on May 17, 2010. He is remembered as a mischievous bon vivant, prodigious womanizer and prolific artist who recognized few boundaries between his practice in […]

The Bricklayer’s Art

Depero illustration for Verzocchi trade catalog. March 2, 2010

[futurism] Trade Catalogue.-  Milan.   Società Anonima Giuseppe Verzocchi.  Veni. VD. Vici. Milan (Società Anon. G. Verzocchi) 1924.  [45934] “All I have,” explained Giuseppe Verzocchi in a 1950 interview with Life magazine, “I owe to work. I intend to build a monument to it through art.”  Verzocchi made good on the promise (and then some), commissioning […]

George Barbier & the Great War

Thumbnail image for George Barbier & the Great War December 1, 2009

Barbier, George, & Jules Meynial.  La Guirlande des Mois.   Anées 1-5 (1917-1921) (all published).  Paris (Meynial) 1917-1921. [45546] Renowned illustrator, costume designer and Art Deco stylist George Barbier was 32 in 1914 when war broke out in Europe.  Although little is known about his personal biography, it stands to reason that he would have been […]

Deadly Nightshade

Thumbnail image for Deadly Nightshade October 31, 2009

Vries, Herman de.   Belladonna: A Film by Herman de Vries, BB Grögel, Susanne Jacob, Steve Leistner, Vince de Vries. Eindhoven, Germany (Edition Apollnius) 1983. [45760] Dutch-born artist Herman de Vries is responsible for this particularly witchy addition to our inventory, Belladonna: A Film, a limited edition (35 copies) handmade artist’s book produced in connection with […]