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)
Pan. Cover detail. Jahrgang 1, no. 1. April/May 1895.
In the late 19th Century, a new moon was rising over the old continent. Some caught sight of its glinting rays more quickly than others. In Berlin, the fiercely intellectual, young art critic Julius Meier-Graefe drew on his connections in Paris, Stockholm, Vienna and London to illuminate the pages of an ambitious new arts journal with works by the era’s brightest stars in painting and the graphic arts, among them Toulouse-Lautrec, Signac, Seurat, Vallotton and Zorn.
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Kitazawa Yoshio, Hamada Masuji, Wantanabe Soshu, Tatsuke Yoichiro, et al. Gendai Shogyo Bijutsu Zenshu. (“The Complete Commercial Artist”). 24-volume-illustrated series (each vol. approx. 100-150 pp. including plates). 4to. Wrpps. Tokyo (Ars) 1927-1930. (46209)
Over the past five years or so, a loose cadre of visual data miners at blogs including BibliOdyssey, 50 Watts, but does it float, Accidental Mysteries, Agence Eureka, and La Boite Verte (to name but a few) have collectively developed an on-line pictorial archive of inestimable value to artists and graphic designers who wish to renew their powers in the streams of history. [click to continue…]
Anarchy. A Journal of Anarchist Ideas. Vol. 1, no. 1 (Mar. 1961) – vol. 10, no. 12 (Dec. 1970) [Alternately numbered nos. 1-118.] (entire first series). 118 numbers in ten consecutively paginated volumes. 8vo. Illus. wrpps.
In the early 1960s, the editors of Freedom Press, those stalwart protectors of the anarchist tradition in Great Britain, scented change on the wind. Young people, many of them students, were looking to the libertarian left to make sense of vast social upheavals in post-war London and other urban centers. The anarchist movement’s anti-authoritarian principles and clearly articulated positions on affordable housing, social justice, and inviolate personal freedom carried a strong resonance. Suddenly, the imprint’s brand of politically-engaged anarchism was no longer the métier solely of bearded Kropotkin scholars.
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