Syd Mead (1933-2019) Neo futurist illustrator and concept designer, had a singular career as a visual futurist, becoming one of a rare group of individuals kept on speed dial by the titans of industry and film. Mead's impact as a world building visual futurist broke through in Director Ridley Scott's 1982 rain soaked techno dystopian masterpiece Blade Runner whose visual landscape was largely Mead's creation. His work on the films Star Trek: The Motion Picture, Tron, Aliens, and Johnny Mnemonic plus the Japanese anime Gundam franchise define the visual identity of modern science fiction storytelling and cinematic futurism. Interestingly the sterile post human designs for Deckard's car in Blade Runner served as the direct inspiration for Elon Musk's Cybertruck (ah-hem, cough, derivative tech bro appropriation).

STUDIO IMAGE Volumes 1, 2, and 3 [complete run] by Syd Mead Published by Oblagon, Los Angeles, California. Three large landscape softcover volumes, 16.5" x 11.5", heavy glossy paper covers, side staple bound, vividly and profusely illustrated throughout with dynamic b&w sketches to intense full color artworks. Studio Image 1: first edition, first printing, August 1988, 38 pages. Studio Image 2 - revised second printing, March 1996, 35 pages. Studio Image 3 - first edition, first printing, 1994, 36 pages. All three volumes are in NEAR FINE Condition. Uncommon. These early modern futurism portfolios were marketed to professional industrial design studios rather than the general public, so print runs were small.

Original 1916 Photograph of Three Young Women in Yosemite Posing on a Rock at Mirror Lake with Half Dome in the Background. Made by Yosemite Photographer Julius Theodore Boysen (1868-1939). In 1916 young women hiking and traveling unchaperoned in the rugged Sierra Nevadas was a powerful, modern cultural image. These women chose to be photographed in this way, taking home an archetypal lifestyle souvenir of their pioneering Yosemite exploration.

The silver gelatin photograph is mounted on a cream card mount embossed with Boysen Yosemite. The mounted photo is attached on the verso into a textured grey paper folder embossed with Boysen on the cover and with the penciled date of June 11th, 1916 on the back of the rear cover. The grey textured paper folder is 12" x 10", the cream card mount is 12" x 9.75", the silver gelatin photograph is 7.75" x 5.75" The image has a small white 510 on the rock next to the three women, this is his studio inventory number etched into the glass plate indicating tourist configurations taken along the banks of Mirror Lake. VERY GOOD Condition: the photograph is clean and clear with just a touch of solarization to the margins. The mount has small spots of foxing. The folder has light edgewear, and a small finger size smear of white paint (?) with a penciled G beneath it on the rear. Overall a beautiful Yosemite portrait of three young adventurous but anonymous women.

Julius Theodore Boysen, San Francisco born early American landscape photographer and amateur botanist who operated a photography studio in Yosemite Valley from 1900 until the 1930s. In 1913 he pioneered a famous genre of souvenir portraiture, he was the first to photograph people reflected in Mirror Lake, turning the location into a hotspot for tourist portraits. He and his wife made friends with many indigenous people of the valley, including Paiute families who let Boysen take candid photographs of their daily routines.

FOUR COMPLETE EARLY ORIGINAL ISSUES OF THE NEW YORKER MAGAZINE 1926 & 1927 Published by F-R Publishing Corp., New York City, 1926 and 1927 first printings.

Having barely survived a precarious debut in 1925, Harold Ross and his wife Jane Grant, a reporter for The New York Times, used the years 1926 and 1927 to recruit defining talent and solidify the magazine's identity by leaning into New York's jazz age nightlife, fashion, Manhattan centric sophistication, irony, wit, and modern literary innovation, perfectly mirroring the urbanity of the speakeasy filled roaring twenties. The New Yorker Magazine became the archetype of the cynical, cocktail sipping modern New Yorker who viewed Prohibition with total amusement. A legendary and culturally defining publication that archives the cultural obsessions of these two years offering a unique primary source perspective. Oh and the advertisements for dry cocktails are totally evocative of Dorothy Parker's biting satire!

June 26, 1926 Vol. 2, No. 19 With cover art by Hungarian American artist Julian de Miskey (1898-1976) depicting a classic Ivy League sculling race Yale vs. Harvard, that captures a Roaring Twenties sports culture aesthetic. Literary selections include an anonymously penned satirical poem "To A Flapper" and Sports coverage of polo matches, Harvard defeating Princeton, and nineteen year old Maureen Orcutt winning the Women's Metropolitan golf title at Rye.

April 16, 1927, Vol. 3, No. 9 With cover art by Hungarian American artist Ilonka Karasz (1896-1981) an avant-garde, Easter-themed modernist work of a woman in a floral bonnet swarmed by butterflies. Includes literary works by Lois Long, Alfred Kreymborg, and Janet Flanner.

June 25, 1927, Vol. 3, No. 18 With cover art by Hungarian American artist Ilonka Karasz (1896-1981) a vibrant, stylized image of an early summer rowing regatta. Literary works by Theodore Dreiser, Eugene O'Neill, Austrian American architect Joseph Urban, and E. B. White.

August 20, 1927, Vol. 3, No. 27 With cover art by American artist Helen E. Hokinson (1893-1949) who was a trailblazing cartoonist for the magazine. Includes literary works by surrealist poet Charles Henri Ford, playwright Russel Crouse, and a review of the landmark silent film "Wings."

Illustrated paper wrappers, side staple bound, 11.75" x 8.5", 60, 112, 84, and 72 pages respectively. VERY GOOD Condition: The covers are pulling from their rusted staples which have offset and affected the paper surrounding them, one cover has completely pulled away, the others are just clinging on, they have some light wear/edgewear and one rear cover has a small bottom corner chip, overall the covers remain very bright, clear, and clean. Internally the pages are lightly age toned, have some crinkles/wrinkles, light edgewear, edge bumps but otherwise remain bright, clean, clear and unmarked. The New Yorker had low print runs in '26 and '27 compared to its later millions, surviving complete issues from these two years are quite uncommon, especially so in this condition.

ILSE D'HOLLANDER - UNTITLED - ART MONOGRAPH. Produced in conjunction with the exhibition "Untitled" that took place at the Museum Louvain, Belgium from June 27 through October 20, 2013.

Published by The Estate of Ilse D'Hollander and Hannibal Publishing, Belgium, 2013. First Edition.

Large format hardcover book, paper covered boards illustrated with one of her artworks, no dustjacket as issued, 9x11 inches, 256 pages. Illustrated with over 100 of her artworks printed on heavy-stock paper, each is printed on its own page, almost all are printed on one side only, all are "Untitled".

VERY GOOD condition, a bit of wear to the spine ends and corner tips, and a small bump to the bottom edge, overall tight, bright, clean, clear and unmarked - looks and feels just barely used. A very presentable copy.

A beautifully printed monograph on the amazing work of Ilse d'Hollander, who committed suicide at 28. She died a completely unknown artist.

About Ilse d'Hollander (from Wikipedia):

*******Ilse D'Hollander, b.1968 d.1997, was a Belgian visual artist, creating paintings and drawings. She died in 1997 at the age of 28 by suicide. She died an unknown artist, but about 15 years after her death she gained international fame.

During the last few years of her life Ilse D'Hollander lived in a farmhouse in Belgium where she created a large number of artworks. None were exhibited, but fortunately none were thrown away. After her death, Ric Urmel acquired all the works found in the farmhouse from Ilse's legal heirs and placed them in a foundation called "The Estate of Ilse D'Hollander" with the aim of bringing the work to public attention. The Estate contained approximately 400 paintings on canvas, 1,700 works on paper, most of them small-scale, and a notebook in which she provided commentary on her art. Most of her works were not dated or signed, and were untitled.

Ilse's work was shown by the Estate to a limited number of art connoisseurs. As a result, a few years later her works were displayed in several group and solo exhibitions in Belgium. At one of these shows Ilse's work was noticed by the owner of the internationally renowned Konrad Fischer Gallery, who organized a solo exhibition at their gallery in Düsseldorf in 2013. Then in 2014, Ilse D'Hollander's works on paper were presented (and immediately sold out) at a major group exhibition at the David Zwirner Gallery in New York and at a solo exhibition at the Konrad Fischer Galerie in Berlin.

In 2015 Konrad Fischer exhibited her works at his booth at Art Basel, where British-American gallery owner Sean Kelly encountered them and immediately featured Ilse D'Hollander in a solo exhibition at the Sean Kelly Gallery in New York and later in Los Angeles. In London, the Victoria Miro Gallery began regularly exhibiting her works after Oliver Miro discovered them.

The Victoria Miro Gallery, the Sean Kelly Gallery, and Gallery Sofie Van de Velde now represent the work of Ilse D'Hollander.******

SPLIT AT THE ROOT, a BROADSIDE by ADRIENNE RICH; on HANDMADE PAPER by JOCELYN H. COHEN, with DESIGN, HAND-COMPOSITION, and PRESSWORK by NANCY POORE.

Broadside, 10.5x16 inches, handmade paper with deckled edges, printed on one side only.

Published by the Helaine Victoria Press in Martinsville, Indiana. This is one of only 50 copies printed on handmade paper, out of a total printing of 250 copies.

From the Colophon: "This edition of fifty broadsides was printed on a platen press on paper handmade by Jocelyn H. Cohen. Design, hand-composition, and presswork are by Nancy Poore...an additional two hundred copies [were printed] on Torino cover paper, and the type subsequently redistributed, in December 1982 at Helaine Victoria Press in Martinsville, Indiana."

GOOD condition: The broadside has a scattering of light foxing, and some normal waviness to the margins from being hand pressed on handmade paper.

Helaine Victoria Press, was a feminist press focused on women's history. It was co-founded in 1973 by Jocelyn Helaine Cohen and Nancy Victoria Taylor Poore. It is most remembered for its series of women's history postcards, but it also published some broadsides by noted feminist authors. The press ceased printing in 1990.

Here is the text of the broadside:

******I know that in the rest of my life, the next half century or so, every aspect of my identity will have to be engaged. The middle-class white girl taught to trade obedience for privilege. The Jewish lesbian raised to be a heterosexual gentile. The woman who first heard oppression named and analyzed in the Black Civil Rights struggle. The woman with three sons, the feminist who hates male violence. The woman limping with a cane, the woman who has stopped bleeding are also accountable. The poet who knows that beautiful language can lie, that the oppressor's language sometimes sounds beautiful. The woman trying, as part of her resistance, to clean up her act.******

THE AD BOOK - A Monthly Exposition of Modern Advertising. Volume 1, Nos. 1-6, 1897; and Volume 2, Nos. 1-6, 1898.

SAN FRANCISCO: The Ad Book Press, 320 Sansome Street, 1897- 1898.

Hardcovers, textured black cloth covered boards, title and the name "Rice Bros" are embossed in gilt on the front cover, 7x10 inches, 12 complete issues including covers are bound-in, most of the 12 issues have 16 pages, a few have 24 pages.

An important and influential San Francisco journal featuring articles on typography, advertising concepts, advertising strategies, etc., with ads from San Francisco Bay Area advertisers, printers, designers, engravers, paper makers, etc.

VERY GOOD condition, the covers have some wear to the corner tips and spine ends, and a bit of rubbing; internally, the front inner hinge is starting to crack but remains well bound, the pages are lightly toned as normal, one cover is neatly stamped "Marked Copy" on the top margin but there are no marks within the issue, there is a small spot here and there, overall the pages are tight, bright, clean, clear and unmarked.

THE GEORGIAN PRESS TYPE SPECIMEN BOOK.

Hardcovers, silver paper covered boards and black cloth covered spine, "TYPE" embossed on the front cover, folio 11x14 inches, a few introductory pages then 95 pages of Type Specimens.

NEW YORK: The Georgian Press, Inc., 175 Varick Street, New York. Undated, but circa the late 1940s, as indicated by the cover with its big, bold mid-century modern look, and the large debossed block typography sample pages, both representative of that era. Limited edition with the statement: "A limited number of copies of this book were printed, of which this is copy ____"; but no copy number is provided.

GOOD condition: the covers corner tips are worn through and the spine ends are frayed, otherwise the covers are bright and doing their job well; internally, the first few pages have some waviness to the bottom margin, else the pages are tight, bright, clean, clear and unmarked. A solid, nice copy.

THE MARKET ASSISTANT, Containing a Brief Description of Every Article of Human Food Sold in the Public Markets of the Cities of New York, Boston, Philadelphia, and Brooklyn; Including the Various Domestic and Wild Animals, Poultry, Game, Fish, Vegetables, Fruits &c.,&c. with Many Curious Incidents and Anecdotes. By Thomas F. De Voe.

Published by Hurd and Houghton in New York, printed at the Riverside Press in Cambridge, 1867.

GREAT ASSOCIATION COPY: This copy was owned by ISAAC ADAMS, with his SIGNATURE, PLACE, DATE, and BOOKPLATE on the front free endpaper. "Isaac Adams / Sandwich N.H. / April 2d / 1867". Isaac Adams was an important figure in the history of American book publishing. From the History of Information website: "The Adams Power Press was the machine that transformed 19th-century book production. The machine lowered the cost of making books, meaning more people could buy and read books. By 1836, it became the leading machine used for printing books in America."

Hardcovers, original blind-stamped green cloth covered boards with gilt titling to the spine, 5x7.5 inches, 455 pages plus 15 pages of Publisher's Ads at the rear. Illustrated with a steel engraved frontispiece, with other in-text illustrations.

GOOD condition: The covers have bubbling to their green cloth covered boards, and some light spine end and corner tip wear, otherwise they are solid with bright spine gilt. Internally, the pages are lightly toned as normal, the very small number "D1590" is written on the front flyleaf, there is some light shorelining to the very top edge of the latter pages, and a few finger tip size spots. Overall a complete, solid, nice copy, with bubbling to the covers cloth.

RARE 1867 edition of The Market Assistant, made special with the signature, inscription and date of Isaac Adams..

About ISAAC ADAMS (from Wikipedia):

******Isaac Adams, b.1802 d.1883, was an American inventor and politician. He served in the Massachusetts Senate and invented the Adams Power Press, which revolutionized the printing industry.

Adams was born in Rochester, New Hampshire, the son of Benjamin Adams and Elizabeth (Horne) Adams. In 1828 he invented the Adams printing press which he introduced in 1830 as "Adams Power Press". The machine "worked a revolution in the art of printing," and beginning in 1836, became the leading machine used in book printing for much of the nineteenth century. It substantially reduced the cost of book production, and made books more widely available."******

It is interesting to note that this book, "The Market Assistant" was likely printed on an Adams Power Press. The Riverside Press was an early adopter of the Adams Power Press. As of 1874 the Riverside Press was reportedly using 18 Adams presses alongside 2 Hoe cylinder presses.

Program for the 1949 Rockland Summer Plays production of The Glass Menagerie, produced for the benefit of The Rockland Foundation, a nonprofit organization.

This 1949 production starred Helen Hayes and Julie Harris, and was directed by Alan Anderson, son of playwright Maxell Anderson. The Chairman of the production was Mrs. Maxwell Anderson. One of the Production Assistants was Mrs. Kurt Weill (aka Lotte Lenya).

The Sponsors, listed on the back page, are a Who's Who of the theatrical world, including: Mr. Maxwell Anderson, Miss Katharine Cornell, Miss Paulette Goddard, Mr. and Mrs. Oscar Hammerstein II, Mr. Rex Harrison, Miss Helen Hayes, Mr. and Mrs. Ben Hecht, Mr. Alan Jay Lerner, Miss Carson McCullers, Mr. Burgess Meredith, Miss Lilli Palmer, Mr. Elmer Rice, Mr. and Mrs. Kurt Weill, Mr. Tennessee Williams, and many others.

Eight page program (two folded sheets), side stapled, 6x9.25 inches.

SIGNED by MAXELL ANDERSON, KURT WEILL, RODDY MCDOWALL, HELEN HAYES, JULIE HARRIS, and two others, as follows;

On the front cover are the signatures of:

MAXWELL ANDERSON, the Pulitzer Prize winning playwright, in pencil at the top of the front page; "Max Anderson / thanks". His signature and thanks are dark and clear. Maxwell Anderson is the father of the play's director, Alan Anderson, and was one of the Sponsors of the Rockland Summer Plays (as listed on the back cover). His wife, Mrs. Maxwell Anderson, is listed in the program as Chairman of the Rockland Summer Plays productions.

RODDY MCDOWALL, the actor, boldly in blue ink. In 1949 McDowall was 20 years old and in New York to become a U.S. Citizen and to break into Broadway. Around the time of this performance of The Glass Menagerie he and Julie Harris met and became lifelong friends. During the 1950s they both lived in New York and worked on Broadway, Harris becoming a major star, and McDowall managing to "break the mold" in how he was judged as an actor. During this 1950s period they also dated a bit and were both close friends with Montgomery Clift.

KURT WEILL, the composer, in pencil on the front cover. His signature is faint but legible. Mr. Kurt Weill is listed as one of the Sponsors, and his wife (shown as Mrs. Kurt Weill) is listed as a Production Assistant.

On the cast page are the signatures of:

HELEN HAYES, the renowned actress. Signed boldly in blue ink. Helen Hayes played Amanda Wingfield (the mother).

JULIE HARRIS, who was 23 at the time, signed her name very lightly in pencil, so lightly that it is almost unnoticeable if you pull your head back a ways from the page, but legible if you get your eyes close. Julie Harris played "Laura, her daughter". It's nice to have her early signature in this 1949 production, as faint as it is.

WILL HARE, a stage and screen actor, signed in blue ink. Will Hare played "Tom, her son".

JOE SULLIVAN, a theatrical actor, signed in blue ink. Joe Sullivan played "The Gentleman Caller".

The program is in GOOD condition,with a horizontal center fold, some faint droplets to the rear cover, and light signs of handling and use. A nice copy of this rare, multi-signed program.

Laid-in is a single sheet listing the two remaining programs of the Rockland Summer Plays: "Joan of Lorraine", written by Maxwell Anderson and directed by Alan Anderson; and "Down in the Valley", with music by Kurt Weill. The sheet has creasing at the top edge, and a center fold.

All performances took place at the Nyack High School Auditorium. I wish I had been there.

About the 1949 ROCKLAND SUMMER PLAYS (from the Nyack News and Views website):

******The 1949 Rockland Summer Plays marked the inaugural season of the Rockland Foundation, launched by a landmark benefit performance of The Glass Menagerie starring Helen Hayes and a young Julie Harris at Nyack High School.

Tennessee Williams, drove from Manhattan to attend the performance. On his way, he picked up his friend, author Carson McCullers,******

THE STREET. POEM and LYRICS written by LEONARD COHEN and ANJANI.

BROADSIDE of the POEM "THE STREET" which became LYRICS for the SONG "THE STREET". The poem "THE STREET" was read at a promotional event in 2006. The song "A STREET", with the revised poem as lyrics, was released in 2014. Both the early poem and the revised poem / song lyrics were written collaboratively by LEONARD COHEN and ANJANI. (ANJANI was a Backup Singer, Backup Musician, Musical Collaborator, and Lover of LEONARD COHEN.)

Broadside, 9x12 inches, deckled front edge. Published and letterpress printed by Sore Dove Press, San Francisco, 2011. First edition, limited to 125 copies (45 of which were signed, this is one of the unsigned copies).

FINE condition. It would look great framed.

Leonard Cohen died in 2016. Anjani is alive and kicking.

About ANJANI (from Wikipedia):

******Anjani Thomas, b.1959, is an American singer-songwriter and pianist, best known for her work with Leonard Cohen.

Anjani was born in Honolulu, Hawaii. She later moved to New York and performed in jazz clubs before meeting producer John Lissauer who hired her to provide backup vocals on Leonard Cohen's influential song "Hallelujah". Anjani went on to tour with Cohen in 1985 as his keyboardist and backup vocalist, and worked with Cohen for many years after, lending her talents to I'm Your Man, The Future, Dear Heather and Old Ideas. She and Cohen were also lovers.

Anjani launched a solo career with the self-titled album "Anjani" in 2000 followed by "The Sacred Names" in 2001. In 2006, Cohen produced and wrote the lyrics for Anjani's album "Blue Alert".

In 2011, Anjani began working on a followup to Blue Alert, and continued her collaborations with Leonard Cohen******

DE ERNESTO GUEVARA NUNCA SE PODRA HABLAR EN PASADO (One Will Never Be Able to Speak of Ernesto Guevara in the Past Tense) - FIDEL

Bound document containing a collection of texts and speeches by Ernesto "Che" Guevara. Compiled and published by Cuba's "Centro Nacional de Investigaciones Científicas" (National Center for Scientific Research) in December 1967, only two months after Che's execution in Bolivia.

Contiene (Contents):

EL SOCIALISMO Y EL HOMBRE EN CUBA (Socialism and Man in Cuba), 11 pages.

DEL CHE A LA JUVENTUD (From Che to the Youth), 10 pages. * Descurso del Commandante Ernesto Che Guevara, el 20 de Octubre de 1962 Ante la Union de Jovenes Comunistas (Speech by Commander Ernesto Che Guevara, October 20, 1962, before the Union of Young Communists)

DE LA JUVENTUD AL CHE: (From the Youth to Che), 4 pages. * Al Che, de la Union de Juvenes Communistas, Cuba, 21 de Octobre de 1967 (To Che, from the Young Communist League) A Tribute to Che written days after his death.

DISCURSO EN ARGELIA (Speech in Algeria) Feb. 24, 1965. 9 pages.

CARTA DE DESPEDIDA (Farewell letter) - "Hasta La Victoria Siempre" 2 pages.

MENSAJE A LA TRICONTINENTAL (Message to the Tricontinental Conference) 9 pages.

Paper covers, bound with spiral bands, 8.5x13 inches, printed on one side only, paginated by document, as shown above.

Condition: Printed on cheap paper that has browned to various degrees and is worn along the edges; appears to have been put together hurriedly and printed on a rickety mimeograph type machine - many letters are faded (the printing did not imprint them fully) and there are ink marks here and there (made by the low quality machine), nonetheless the text is clear and fully legible. The paper covers are toned and are creased from handling, the title page has an old light coffee splatter stain, the white binding rings have been professionally restored. Overall a complete and solid coffee, with wear, toning, and printing as to be expected on this early Cuban document following the death of Che.

I have never seen another copy and doubt I ever will.

About the National Center for Scientific Research of Cuba and its Association to Che Guevara:

The National Center for Scientific Research (CNIC) of Cuba, was founded in 1965 under the impetus of the Revolution and with ideas and direction from "Che" Guevara. It was consolidated in 1967 as a crucial hub for multidisciplinary science on the island, focusing on applied research and laying the foundations for Cuban biotechnology.

CAT - THE MANDARIN JET. THE GRACIOUS SERVICE OF THE ORIENT.

Two original, vintage POSTERS, 24x36 inches, undated but circa 1960.

Posters issued by the CIVIL AIR TRANSPORT "CAT", a CIA controlled airline which ran commercial routes as a front for its clandestine operations.

The two posters are in GOOD condition, edgewear, a small brown stain to the white border of one poster, a few small holes, one has "Travel Posters / CAT" written on a corner of its blank backside; overall the posters are bright and clear. NOT linen backed. The posters have been stored rolled, which is their natural state.

Will be shipped safely rolled in a sturdy mailing tube.

About CAT / CIVIL AIR TRANSPORT (from Wikipedia):

******Civil Air Transport / CAT was a Nationalist Chinese airline created in 1946. After the fall of Nationalist China the airline was owned and operated by the U.S. Central Intelligence Agency. The airline's public face was as a legitimate airline offering "Gracious Service" to exotic travel destinations, but in reality it was a front for the CIA's covert operations throughout East and Southeast Asia.******

You can read all about the history and operations of CAT - CIVIL AIR TRANSPORT on Wikipedia and elsewhere on the Internet.

AND NEVER BEEN KISSED, by SYLVIA DEE.

NEW YORK: Macmillan, 1949. First edition, first printing, with "First Printing" stated on the copyright page and the date 1949 on both the title and copyright page.

SIGNED and INSCRIBED by SYLVIA DEE on the title page: "To Emma Swift / With all best wishes / Sylvia Dee".

Hardcover book in dustjacket, 5.5x8 inches, 247 pages.

A humorous novel about two teenage female friends which the back dj flap calls "the low-down on the female of the species between the ages of thirteen and sixteen".

Condition: NEAR FINE book, tight, bright, clean, clear and unmarked. In a GOOD dustjacket that has edge wear, a finger-tip size chip to the bottom edge, some toning to the edges and spine folds, and some shorelining from an old spill that is only faintly visible on the bottom area near the spine (much more noticeable on the dj's blank backside); overall the dj is solid and bright.

The rear dustacket panel features a photo of Sylvia Dee taken by the great photographer Lotte Jacobi (who notably also took the photograph of J.D. Salinger which is on the dj of Catcher in the Rye).

RARE - SIGNED BOOKS BY SYLVIA DEE HAVE BECOME ALMOST IMPOSSIBLE TO FIND. Her archives are held at Boston University Library's Special Collections.

About SYLVIA DEE (excerpts from various Internet sites):

********Sylvia Dee, b.1914 d.1967, was one of the few female lyricists who wrote hit tunes in the 40s, 50s, and 60s. She proved that female songwriters could transcend a single era's musical tastes, and write popular songs for three consecutive decades.

Sylvia Dee also wrote three novels: And Never Been Kissed (1949), Dear Guest and Ghost (1950), and There Was A Little Girl (1951). "And Never Been Kissed" was dramatized on television.

Sylvia Dee died in 1967 at the age of 52, abruptly ending her amazing career. Below is a snapshot of her successes over three decades:

SYLVIA DEE IN THE TIN PAN ALLEY ERA (1940s) - Early American female lyricists like Dorothy Fields ("The Way You Look Tonight") and Kay Swift ("Fine and Dandy") paved the way in a heavily male dominated industry by writing sophisticated standards for Broadway and Hollywood. Dee entered this arena in the early 1940s. She quickly became one of the top female lyricists, collaborating with composer Sidney Lippman on hits including: "Chickery Chick" (1945): A novelty hit song utilizing playful nonsense syllables; "My Sugar Is So Refined" (1946): A satirical, high-society swing tune recorded by Johnny Mercer; and many others.

SYLVIA DEE IN THE TRADITIONAL POP ERA (1950s) - By the early 1950s, Dee cemented her place alongside peers like Carolyn Leigh ("Witchcraft") by penning romantic, poetic lyrics for some of the era's major vocalists. Her massive hit from this period was the 1951 song "Too Young," popularized by Nat King Cole which sold over a million copies and became the number one best selling song of 1951. Cole himself often cited the song as one of his three favorite recordings.

SYLVIA DEE IN THE ROCK & ROLL ERA (1960s) - While many older lyricists struggled or refused to adapt when the rock and roll sound emerged, Dee pivoted. She started working with younger composers like Arthur Kent and George Goehring to write for the teen market. Their hits included "The End of the World" written for Skeeter Davis in 1962. This cross-over country-pop smash became one of the defining sad songs of the decade, and made history as the first and only song to crack the top 10 on all four Billboard charts simultaneously.********

CLUB WOMEN OF CALIFORNIA: Official Directory and Register - Giving the Officers and the Names and Addresses of All Members. Published by the California Federation of Women's Clubs, and printed in San Francisco by the Calkins Publishing House, 1907.

This was the INAUGURAL ISSUE of the CLUB WOMEN OF CALIFORNIA DIRECTORY AND REGISTER, covering the 1906-1907 club season. Subsequently it was published intermittently in 1912-1913 and 1915. The final issue was published in 1916.

Hardcovers, burgundy cloth covered boards, embossed gilt titling to the front and rear boards, 192 pages plus some bound-in ads here and there (including one for BENIOFF "The Lady's Tailor", whose direct lineage leads to Marc Benioff, the gazillionaire oligarch).

In 1907 Women's Clubs blossomed all over California - this was their heyday. Clubs in San Francisco, Palo Alto, Alameda, Napa, Oakland, Los Angeles, Whittier, Azusa, and everywhere else. Clubs such as the Shakespeare Club, Forum Club, Philomath Club, Friday Club, Oleander Study Club, and everything else! Find your city, find your club, it's here. But women only!

GOOD condition: The gilt on the covers is rubbed and faded, otherwise the book is solid, tight, bright, clean, clear and unmarked.

The California Women's Clubs, with the motto "Strength United is Stronger", played a major role in California granting women the right to vote in 1911, a full nine years before all U.S. women were given the Constitutional Right to Vote (and perhaps 115 years before the U.S. Supreme Court will take it away!)

From the Editor's Preface of this Inaugural Issue:

******It is with great pleasure that we present to the Club Women and their friends of the Pacific Coast this Club Directory and Register... Club women have become so united in their interests they are obliged to know how and where to communicate with each other.

The one thing that has gained the clubs the influence they have has been the extended association of the Women's Clubs... The club movement is one of the great factors in our social development and no effort will be spared to advance its interests. This Club Directory and Register will be in the hands of every club member, and will bind more closely the bonds between all club women. Trusting it will entirely fill the requirements for which it has been compiled, it is presented with best wishes by THE PUBLISHER.******

CALABRIA ULTRA Olim Altera Magnæ Græciæ Pars. Original 17th century hand colored leaf from Jan Blaeu's Grooten Atlas, Dutch edition of the iconic Atlas Maior, published in Amsterdam in 1664.

Imperial Folio: sheet is 23.5" x 19.75," plate is 19.5" x 15"

Strong impression, the plate has some small wrinkles, tiny abrasions and light toning on the fold line but remains colorful, solid and bright. The margins of the sheet, not affecting the plate, show wear, shorelining, finger smudging, small staining, edgewear and edge tears. The Dutch text on the verso is fully legible and the decorative initial and printers device are very lovely. A Very Good 362 year old map of southern Italy.

Dutch Cartographer Jan Blaeu (1596-1673), from Atlas Maior volume seven covering Italy & Greece with Dutch text on verso page 114. Copperplate engraving on watermarked handmade laid paper with contemporary hand coloring.

Originally designed based on the earlier cartography of Giovanni Antonio Magini (1555-1617) this map depicts Calabria Ultra, the southern tip of Italy flanked by the Tyrrhenian and Ionian seas, includes prominent coastal features, islands, and settlements like Reggio Calabria and Tropea. This iconic Baroque engraving is wonderfully decorated with a large allegorical title cartouche, regional coats of arms, classic compass rose, sea monster, and intricate sailing ships traversing the Mediterranean trade routes that graphically capture this era of European maritime dominance.

Jan Blaeu's Atlas Maior is one of the most elaborate works in the history of cartography. When completed in 1665, it was the largest and most expensive book published in the 17th century.

Henry Evans JAPANESE PERSIMMONS Original 1965 SIGNED Linocut

JAPANESE PERSIMMONS by Henry Evans, 1965.

Signed by the artist in pencil, titled and dated "JAPANESE PERSIMMONS" / "Henry Evans 1965"

Original botanical linocut print hand pressed by the artist on a textured ecru handmade paper in San Francisco. Dimensions of the sheet are 19" x 14". NEAR FINE Condition: two light corner-tip creases not affecting the image which is bright, vibrant, clean and crisp. An excellent example of one of Henry Evans early and elusive prints. Only two holdings in OCLC collections worldwide, Hunt Botanical Library Collection, PA. and Morton Arboretum, IL.

Henry Evans (1918-1990) San Francisco Bay Area artist and printmaker known for his minimalist style botanical images. In 1949 he established the Peregrine Press in San Francisco where he began making books and prints for local Bay Area artists. To better understand the process of block printing, he began to cut his own linoleum block prints and drew inspiration for his images from the flora of northern California. His images of living plants were drawn directly onto the linoleum block, depicting them life-size.

Two Original Panoramic Photographs. BLACK PRINCE HALL FREEMASONS and WOMEN'S ORDER of the EASTERN STAR. Original silver gelatin photographs, Portland Oregon, 1951. Photographed by Theodore Mentzer, Portland Oregon, with his ink stamp on the verso's. Both photographs are in VERY GOOD Condition: light edge wear, a few bumps in the margins, and light toning to the verso, overall excellent tonality and detail. A stunning photographic record. Scarce.

"48th Annual Communication, Prince Hall Grand Lodge, Free and Accepted Masons, State of Washington and Jurisdiction, Portland, Oreg. July 8th, 1951." Sized 28.5" x 7" inches. Featuring 73 Black men, all exquisitely dressed and festooned with freemason regalia.

"38th Annual Communication, Prince Hall Grand Chapter, Order of Eastern Star, State of Washington and Jurisdiction, Portland, Oregon, July 8-11, 1951." Sized 36" x 7" inches. Featuring 86 Black women and 23 Black men, all exquisitely dressed and festooned with freemason regalia.

Prince Hall Free Masonry is an historically African American fraternal organization founded by Prince Hall, a free Black man in 1775. Prince Hall formed in the Northwest in the 1880s and 1890s. The Prince Hall chapter in Portland was organized in 1891. At the turn of the 20th century, many African Americans were less than 40 years removed from slavery. Many were poor, illiterate and had no political power. Several community institutions were established at this time including fraternal lodges, civic organizations, benevolent societies and social clubs which provided Portland's Black citizens with political, social, and economic stability and a platform for Black activism. Because of red-lining and segregation, Albina was the only Black neighborhood in Portland. By the 1950s, the Prince Hall Masons were a pillar of Portland's Black community, headquartered at the Masonic Temple at N. Rodney Street and N. Russell Street.

The midcentury represented the fraternity's zenith and Portland's African American women established a Women's auxiliary, the Order of the Eastern Star. Black women were able to exercise power, influence, and independence apart from their families or husbands and become leaders in their communities in their own right. Prince Hall members worked alongside the NAACP and local civil rights leaders to push for legislative milestones, such as the Oregon Public Accommodations Act (1953) and the Fair Housing Act (1957). The Prince Hall Grand Lodge in Portland oversaw scholarship programs, youth initiatives, and mutual aid networks, which were documented in grand lodge souvenir programs throughout the 1950s.

Theodore Mentzer (1892-1953) was a prominent early 20th century commercial photographer based in Portland, Oregon. Operating out of 1608 NE Halsey St, he specialized in large format, sweeping panoramic photos of various subjects throughout the Pacific Northwest.

Unproduced and unrecorded original SCREENPLAY of C.S. Lewis's OUT OF THE SILENT PLANET

Screenplay adapted by D.G. McG. Burns. 1981. Correspondence to David Kaplan c/o William Burns, 9 Morgan Road, Bromley, Kent, UK.

An unproduced sci-fi film script screenplay adaptation of the iconic first novel in Lewis's 1938 Cosmic Space Trilogy. From the estate of Martin Rosen who in 1978 directed and wrote the script for the acclaimed animated classic Watership Down. C.S. Lewis is the author of the Chronicles of Narnia which were adapted into three seminal films, The Lion, the Witch and the Wardrobe (2005); Prince Caspian (2008); and The Voyage of the Dawn Treader (2010). Out of the Silent Planet has yet to be adapted into a film. Perhaps Martin Rosen was thinking about it but never got to it.

Xerographic copy on white paper, 8.5" x 11" inches, 180 un-numbered pages printed on one side only. White plastic spiral bound, blue card front cover and heavy white card rear cover. VERY GOOD Condition: the blue front cover is tearing and partially disbound from the spirals, is creased and has a few small stains, internally, just some light wear from age, otherwise tight, bright, clean and unmarked. Scarce. I could not find another screenplay adaptation in any collection nor could I find out anything about the writer other than he owned a house in Kent and may have been a professor. The screenplay follows the foundational plot points from the novel. The hero, Ransom a professor reminiscent of Lewis's friend J.R.R Tolkien, is kidnapped and brought to the mysterious planet of Malacandra (Mars) aboard a strange space ship. The professor escapes his captors and finds himself terrified on this unfamiliar world. His curiosity overcomes his fear when he discovers many of the aliens possess the ability to speak and share a common tongue. During his time on Malacandra the professor learns about the planet and its alien inhabitants, but learns much more about his home planet Earth, known across the solar system as the "silent planet" quarantined because of its history of rebellion and moral darkness thus discovering the place humans occupy in the universe.

Clive Staples Lewis (18980-1963) Irish born scholar, novelist, and Christian apologist. Best known for The Chronicles of Narnia, he was a fellow at Oxford and Cambridge universities and a prominent member of "The Inklings," where he influenced fellow authors like J.R.R. Tolkien.

Martin Gerald Rosen (born 1936) is an American British filmmaker and theater producer. He directed the animated film adaptations of Watership Down (1978) and The Plague Dogs (1982), both from Richard Adams novels.

Italian punk emerged in 1980, a raw, anti establishment movement deeply tied to music and zines. The Parma punk movement was defined by no future nihilism, political rage, and anti fascist tension.

PUSHE 27. PUSHER ART IMAGE. Anno 1 Numero 1. Self published in Parma, Italy, [1981]. First issue of this pioneering Italian Punk Zine from Parma. Illustrated covers, side staple bound, 13" x 9.25", 32 pages, illustrated throughout with black & white comix, photos, and existential graphics, includes articles on the local underground music scene, David Bowie, Lindsay Kemp, DADA, New Atomic Generation, and Peter Gabriel. Text in Italian. Only four issues were published between 1981 and 1984. VERY GOOD Condition: some wear/creasing to the spine margins, lightly bumped corners, light foxing to rear cover, internally, light signs of age/use overall tight, bright, clean and unmarked. Scarce.

Lindsay Kemp was a legendary British dancer, choreographer, and mime artist who served as a mentor, muse, and lover to a young David Bowie. He fundamentally shaped Bowie's theatricality, stagecraft, and the creation of his iconic Ziggy Stardust persona.

Here is a translation of the opening poem, I think Wednesday Addams would approve:

"cursed children, prisoners of the city, in search of an impossible and disturbing panism like askaris reflecting on the desert sand cursed children groping in a poem of alien images listening to the wind on an Irish cliff crazy stories of a life that has nothing congenial about it except exasperation and the languid memory of belle époques that perhaps never existed light ghosts that torment your being proud victors of their own battles... or eternal losers! splendid corpses that levitate in their violet dimension, in their tormented underground anguished figures in constant search of the transcendental being...... Pushers live in a violet circus"