CONTEMPORARY COLOR GUIDE How Controlled Color Contributes To Modern Living by Elizabeth Burris-Meyer

Published by William Helburn, Inc., New York City, [1947] presumed first (and only) edition. Hardbound in original publisher's yellow cloth with embossed red printing on the front cover and spine, 9" x 7", 72 pages, illustrated with 30 color plates with paint swatch samples hand glued on and protected with tissue guards. VERY GOOD Condition: covers have light wear, some toning/spotting, and the spine is sunned, internally excellent, a few plates have some foxing on the gutter margin, otherwise tight, bright, clean and unmarked. A rare surviving guide of carefully curated paint color palettes for interior decorators, home planners, and industrial designers. Focusing on the modern era, it outlines how scientific and controlled use of color can optimize spatial design, enhance mood, and improve functionality in midcentury American households and workplaces. This is the second of her two important books on color, the first is "Historical Guide to Color" published in 1938 which shows paint color schemes from the past such as Ancient Egypt or the Victorian era.

These color concepts were developed by an exceptional female color theorist whose obscurity exposes midcentury gendered notions of color and how female color theorists were incorrectly seen as simply domestic designers thus outside the male dominated canon, causing Elizabeth and her work to be left out of the history of color theory in art and design.

Elizabeth Burris-Meyer (1899-1969) American Color Theorist, prominent Color Consultant, Design expert, Dean of the School for Fashion Careers / Tobé-Coburn School for Fashion Careers, Head of the Department of Costume Design at the College of Fine Arts of New York University, Member of the New York Color Consultants, Kitchen Planning Editor and Color Consultant at House and Garden magazine.

"Color is an essential part of construction" Elizabeth Burris-Meyer

VIOLENCE AND THE AMERICAN DREAM Number 55 Monthly Graphic Milton Glaser [Designer], Sarah Wilson [Editor], Victor Comerchero [Text] Published by The Push Pin Studios, Inc. New York, 1969, first edition. Softcover, square format, printed paper vellum wraps, side staple bound, 8vo, 16 pages, graphically illustrated with 4 color photographic plates of "torn" paper, three plates are die-cut with an area of text intentionally missing from the verso. Glaser is playing with the illusion of tearing. To add to the complexity, he reprinted the missing text on the vellum wrapper so the reader could replace the missing parts and read the entire text. The text examines cultural themes of violence. VERY GOOD Condition: tight, bright, clean and unmarked. Uncommon.

THE SOUTH Push Pin Graphic. Number 54 Seymour Chwast [Designer], Sarah Wilson [Editor] Published by The Push Pin Studios, Inc. New York, 1969, first edition. Softcover, square format, 8.5" x 8", white paper wraps, side staple bound, 20 pages including covers, die-cut bullet hole through and through, graphically illustrated with 7 full page color collages. Designed Chwast in response to the violence of the civil rights movement. Juxtaposing portraits of people killed by racists over images of the Antebellum South, a physical hole punched through each of their heads. Across from these montages are popular Southern songs alongside biographies of those murdered. The final page inverts this structure, marking an end to injustice. VERY GOOD Condition: just some light signs of age/use and one leaf has a thin stiff horizontal production crease. Uncommon.

In 1954 Cooper Union art school students Seymour Chwast (b.1931), Reynold Ruffins (1930-2021), Edward Sorel (b. 1929), and Milton Glaser (1929-2020) founded Push Pin Studios in New York City, creating what would become the most influential American design studio of the mid 20th century. Their eclectic graphic style was highly referential, blending motifs and letterforms from various art movements and cultures. They rejected the rigidity of modern minimalism, representational illustration, and sans-serif typefaces in favor of brightly colored, abstracted illustration that combined images and often flamboyant or novelty lettering that looked back to the late 19th and early 20th century poster styles of Henri de Toulouse-Lautrec, Lucian Bernhard, and Ludwig Hohlwein. Push Pin Graphic was their monthly promotional publication, only 3000 to 5000 copies of each issue were printed, but it was highly influential for its unique approach to visual form and content among graphic and advertising designers. A wellspring of visual eclecticism during a period when Swiss Modernism was the reigning style, the Graphic not only showcased their overarching sensibility and its individual members' talents, but it also covered a wide range of issues and themes, some of them controversial.

TATSUZO SHIMAOKA - FIRST KILN EXHIBITION. Catalog for the exhibit that took place from May 7 - May 12, 1982 at the Seibu Department Store Gallery in Tokyo. (During the late 20th century, major Japanese department stores like Seibu operated prestigious fine art galleries. They were instrumental in promoting top-tier ceramic artists directly to collectors.)

TOKYO: Seibu Department Store Art Department, 1982. First Edition.

SIGNED and DATED on the front flyleaf: "Tatsuzo Shimaoka / 11 May 1982" (signed during the exhibition).

Softcovers / Wrappers, French folds, 9.5x10 inches (24x25.5 cm), 32 pages most of which are COLOR PLATES illustrating many of the ceramic pieces from the exhibition.

NEAR FINE condition, tight, bright, clean, clear and unmarked.

About TATSUZO SHIMAOKA and his 1982 Exhibition (from a Japanese cultural heritage website):

******Tatsuzo Shimaoka, b.1919 - d.2007, was a Japanese mingei inspired potter who studied under Shoji Hamada and later became the second Living National Treasure of Mashiko, Japan.[

n 1982, famed Japanese Mingei master potter Tatsuzo Shimaoka held a highly influential solo exhibition at the Seibu Department Store Gallery in Tokyo. He showcased his signature Jomon zogan (rope-impressed inlay) technique. This technique involved rolling hand-braided silk cords (made by his father) across wet clay and filling the impressions with contrasting white or colored slip.

Seibu Department Stores (specifically the Seibu Ikebukuro and Seibu Utsunomiya branches) served as primary exhibition partners for Shimaoka and his workshop. Seibu routinely hosted his major milestones.******

DAYS IN A LIFE. THE ART OF TETSUYA NODA. Edited by Robert Flynn Johnson.

SAN FRANCISCO: Asian Art Museum, 2004. First Edition.

SPECIAL EDITION consisting of the hardcover book "The Art of Tetuya Noda - Days in a Life", an ORIGINAL PRINT BY TETSUYA NODA which she has HAND SIGNED, NUMBERED 67/150 (#67 of 150 copies), and STAMPED WITH HER HANKO, and a clamshell case which houses the book and print.

Condition: The book is in FINE condition, tight, bright, clean and clear. The PRINT is in FINE condition, apparently never removed from its protective mount in the clamshell box. It is beautiful. The clamshell case holding the print and book has sunning to its spine and top edge, and a few shelf rubs, otherwise it is solid and doing its job well.

BEAUTIFUL AND RARE with the HAND SIGNED, HAND NUMBERED, AND STAMPED LIMITED EDITION PRINT.

About TETSUYA NODA (from Wikipedia):

******Tetsuya Noda (?? ??, Noda Tetsuya) b.1940, is a contemporary artist, printmaker and educator. He is widely considered to be Japan's most important living print-artist, and one of the most successful contemporary print artists in the world.******

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.

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.******

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.

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.

ALPHABET PUZZLE. A Special Edition for the Museum of Modern Art, New York. Published by David, Delaney-Arrow, Inc., New York City, 1974. Designed by Michael Schacht. An alphabet of twenty letterforms. Six letters have a double usage thereby completing the universal twenty-six letter alphabet.

Typographic jigsaw puzzle designed by Michael Schacht exclusively for the New York Museum of Modern Art. Contains approximately 200 colorful puzzle pieces, finished size is 12" x 15". In original illustrated cardboard box, 6.75" x 8.25" x 1.5", in original shrink wrap with a metallic NYMoMA Bookstore sticker on the rear. The puzzle consists of 20 colorful abstract, geometric letterforms that double as puzzle pieces, six of the designs are reversible allowing the puzzle to form all 26 letters of the English alphabet. NEAR FINE Condition: light wear to original shrink-wrap, box has light bottom corner-tip wear, and the bottom of the box has some escaped puzzle dust trapped beneath the clear plastic wrap, a bright and vivid specimen of 1970s design ephemera.

Davis, Delaney-Arrow was a prominent New York City commercial printing firm specializing in high quality color reproductions, offset lithography, and notably produced special editions, custom art ephemera and exhibition catalogs for the Museum of Modern Art during the mid-20th century.

S.M.S. #6 - Shit Must Stop 1968. Publication containing various ART multiples. In its original mailing box.

This was the last issue of the incredible anti-art-gallery-snobbery published by William Copley & Dmitri Petrov and published by The Letter Edged In Black Press, New York, NY, 1968. First printing.

This boxed portfolio #6 includes the following:

1: Cover box by Richard Artschwager 2: Self Portrait by Ed Bereal 3: Chocolate Bar by Dieter Rot (aka Dieter Roth and Diter Rot) 4: Friends by Betty Dodson 5: Neon Construction by Ronaldo Ferri 6: Ten Xerox Sheets by Toby Mussman 7: Twenty Down by Adrian Nutbeam 8: Unattended Lunches by Claes Oldenburg 9: Junior Historical Theatre Playroom Kit by Mischa Petrow 10: Adora by Jean Reavey 11: Johns in Art Galleries by Paul Steiner 12: Astrophysics by Bernar Venet 13: Chinese Fortune Game by John Giorno.

Condition: All items are present, but several have flaws. Dieter Roth's "Chocolate Bar" consists of four colored 3x4.5 inch "trading cards" (each an artwork). The cards are present but the paper sleeve that held them is lacking. Mischa Petrov's "Junior Historical Theatre Playroom Kit" (a political, multimedia parody of a children's play set) includes: one printed cardboard sheet featuring die-cut, punch-out historical figures; four miniature plastic weapons (tiny pistol, knife, ax, and rifle) enclosed in two small plastic pouches, and one small bag of glitter., The punch out cards and the bag of glitter are present, but the four miniature plastic toy weapons are lacking. Bernar Venet's "Astrophysics" includes a 7" vinyl record. The record is cracked / broken and is therefore unplayable. The box holding the items has some creases and soiling.

Despite the above noted flaws (most notably the cracked record), this is a complete set of the scarce last issue of Shit Must Stop / S.M.S #6.

About S.M.S. - SHIT MUST STOP (from Wikipedia):

******"Founded in New York City by artist, collector and dealer William Copley, S.M.S. was an art collection in a box, filled with small-scale, often whimsical, artworks available by subscription. Delivering art through the post offered Copley, and his collaborator Dmitri Petrov, a way to circumvent the art market and make contemporary art accessible to nearly anyone. Inspired by Copley's mentor and friend Marcel Duchamp's Boîte-en-valise, S.M.S. was conceived as an inter-media and intergenerational publication that would present artworks by prominent and unknown artists side by side. The magazine gathered an impressive range including the Surrealist luminaries Man Ray and Meret Oppenheim, Pop artists Richard Hamilton and Roy Lichtenstein, composers Lamont Young and Terry Riley, and an up-and-coming generation of conceptual and post-studio artists such as Joseph Kosuth and Bruce Nauman. Regardless of stature, each was paid $100 for their contribution. This egalitarian spirit extended to the communal atmosphere of Copley's upper west side Letter Edged in Black Press loft which functioned as an unofficial hangout for many of the participants..******

About S.M.S #6 (from Wikipedia):

******Richard Artschwager's design for the box of S.M.S. #6 is a simple image of a black shape reproduced on each surface of the cover, both inside and out, with reproductions of the exact coffee stains he accidentally made when producing the original. By approving of this accident, and reproducing it for the cover, Artschwager, and Copley seem to be making an argument about the place of beauty and mistake in the contemporary art world. The rest of the pieces in this final issue seem to be playful and mischievous manifestations of this same idea, with Adrian Nutbeem's unsolvable crossword as well as Claes Oldenburg's Unattended Lunches.******

THE INTIMATE SKETCHBOOKS OF G. [BRAQUES. Text by Will Grohmann and Antoine Tudal, and with an Appreciation by Rebecca West.

NEW YORK: Harcourt, Brace and Company, 1955. First American edition, serving as the English language edition of Verve's double issue #31-32.

Hardcovers, 10.5x14 inches, sewn binding,156 pages plus 20 lithographs.

Contains 20 COLOR LITHOGRAPHS by GEORGES BRAGUES printed by MOURLOT FRERES, Paris. The lithographs include the wonderful title page and frontispiece. Each lithograph is printed on its own leaf, each suitable for framing. The book is also filled with numerous other heliogravure illustrations, most in b&w.

Condition: The cover's spine has faded to white, has mostly pulled from the text block, and is missing 2 inches at the top; the front and rear boards are solid and well attached, they are sunned near the spine and a bit at the top margin, are frayed at the spine folds, and have very light corner bumps. Internally near fine, the sewn text block is strong and all the pages are great - bright, clean, clear and unmarked. The lithographs are all brilliant. No dustjacket.

MAY GOD LET HIM GROW: A Child's Birth in the Culture and Customs of Bohemian and Moravian Jews. Text by Dana Verselska, et al. Published by the Jewish Museum in Prague, 2009.

A book on vintage JEWISH CIRCUMCISION TEXTILES used in BIRTH CEREMONY RITUALS from 1668 to 1930.

ILLUSTRATED with COLOR REPRODUCTIONS of over 100 CIRCUMCISION TEXTILES, most printed on fold-open pages. Also illustrated with color photographs of items related to the Jewish birth ceremony ritual.

Softcovers, French folds, 9x8 inches (22x21 cm) oblong, 312 pages.

NEAR FINE condition, slight pushing to the cover corner tips, overall tight, bright, clean, clear and unmarked. A lovely, very presentable copy.

From the Publisher:

******This book is the result of almost five years research undertaken between 2004-2009 by staff at the Jewish Museum in Prague on the DONATED CIRCUMCISION TEXTILES used by Bohemian and Moravian Jews. These textiles were acquired from collections both in the Czech Republic and abroad. These are circumcision textiles that were used in actual birth circumcision ceremonies.

Catalogs 1,328 circumcision textiles,with brief descriptions that include translations of their Hebrew dedicatory inscriptions. Illustrated with over full color illustrations.

Features a specialist study on the ceremonies that are connected to the birth of a child in the culture of Bohemian and Moravian Jews, as well as three other specialist studies that provide a detailed analysis of the Torah binder, made from the swaddling cloth used at a boy's circumcision.

There are also indexes of the forenames and surnames of the donors (i.e. the boys who were circumcised or their parents or grandparents) and an index of the localities mentioned in the dedicatory inscriptions. A unique register of circumcisions from 1668 to 1930.

This book / catalogue provides an important resource for anyone interested in Jewish circumcision rituals, textile art, and/or genealogy.******

TEXTILES FROM BOHEMIAN AND MORAVIAN SYNAGOGUES - from the Collections of the Jewish Museum in Prague.

Published by the Jewish Museum in Prague, 2003. ISBN 8085608650.

Hardcover Book in Slipcase, 9x12.5 inches (22.5x31 cm), 376 pages

ILLUSTRATED with 500 COLOR PHOTOGRAPHS of Synagogue Textiles: Curtains, Torah Mantles, Valances, Covers, etc. They are gorgeous.

FINE, as new book and slipcase in its original shrink wrap.

Please Note: The provided images are from a personal copy of the book, this copy is still in its shrink wrap.

From the Publisher:

******A de luxe catalogue of synagogue textiles from the collections of the Jewish Museum in Prague, produced to accompany the exhibition "For Dignity and Adornment" which took place at the Imperial Prague Castle March-June 2003.

The catalogue text and illustrations cover most of the textiles presented at the exhibition, as well as other select examples of the rich diversity of the Museum's textile holdings, amounting to a thousand items. Moreover, they broaden the scope of information on individual groups of textiles by adding other striking examples.

The wide variety of the collection is reflected in 500 full-colour illustrations.

Sections include: The Specific Symbols of Moravian Synagogue Textiles; Valances and their Specific Iconography; Textiles of Oriental Provenance; Fabrics of Chinese Provenance; The Historical Background of Donors; The Development of Hebrew Dedicatory Inscriptions and the Contemporary Use of Czech and German Inscriptions; The Donation of Synagogue Textiles as Reflected in Epitaphs; The Restoration of Textiles at the Jewish Museum in Prague; and The Identification of Collection Points.

Textiles include: Curtains, Torah Mantles, Valances and Covers. Catalogue Entries also include the name of the donor and information on the place from where the item came.

The catalogue ends with a glossary of Hebrew terms and an index of names and localities.

An indispensable resource for anyone interested in Jewish culture, and for all lovers of textile art.******

INTERNATIONAL BIDDERS PLEASE NOTE: This book is heavy and will require additional shipping charges. After placing your order you will be notified of the charges and be able to accept or reject them before payment is taken. Thanks!

COLLECTION DE CHIFFRES, Composés par H. Desnoyers, Graveur de S. A. I. Mgr. le Prince Louis, Roi de Hollande. 1e & 2e Livraison / [Collection of Ciphers, Composed by H. Desnoyers, Engraver to His Imperial Highness Prince Louis, King of Holland. 1st and 2nd installment]

Published by Chez l'Auteur Rue du Lycée M.on de l'Athénée N° 2, Pres le Palais Tribunat. Paris, n.d. circa 1806-1810, first editions. Two volumes, printed terracotta pink wrappers, 9" x 13.75", complete with a total of 31 copper engraved plates on watermarked laid paper including title pages, advertisements and 27 plates with decorative letterforms, volume 1: [2 leaves] 14 numbered pages; volume 2: [2 leaves] 13 numbered pages. VERY GOOD Condition: spines perished, gatherings loosened but holding, small oval German library ink stamp to front covers and title page versos, a few pencil marks, light edge chipping to covers, author's signature stamp to title pages, internally excellent. Scarce, only two copies in OCLC collections worldwide, both volumes found together at the Bibliothèque National de France, and just volume 2 at the Institut National d'Histoire de l'Art, Paris.

Early French Empire typography was influenced by new styles of ornamental handwriting and their engraved reproductions. The engraved decorative letterforms (chiffres) that fill these two volumes include ornate monograms with lavishly curved scripts, ciphers, and rococo lettering with thinly sculpted lines. These books were used by artists, artisans, calligraphers, goldsmiths, and stamp carvers for their wealthy clients. Personalized ciphers, decorative letterforms, monograms and heraldic initials were major status symbols in 19th century France. During the Empire and Bourbon Restoration periods they were used to elevate ordinary possessions into extensions of identity. For the French elite, these bespoke interlaced initials were stamped onto stationery, silver, and wax seals, clearly broadcasting lineage and social standing in a rapidly shifting societal landscape.

H. Desnoyers (Auguste Gaspard Louis Hilaire Boucher Desnoyers; Baron Boucher Desnoyers) (French, 1779-1857) Born in Paris, he became one of the foremost engravers of his era, given the title of Baron and favored by the courts of Napoleon and Louis XVIII. He was the official draftsman and engraver of Louis Napoleon Bonaparte (brother of Napoleon I), who became King of Holland in 1806.

In 1806, Napoleon appointed his brother, Louis Napoleon Bonaparte, King of Holland. A short lived tactical decision which did not go according to plan. In 1810 Napoleon forced his brother to abdicate and annexed Holland to the kingdom of France. Louis was the Netherlands' first king, and it would be five years until they found another when William of Orange Nassau declared himself King of Holland in 1815, in direct response to Napoleon's return from Elba and the impending threat that reached its bloody climax at Waterloo.

TEMPLE HILL CUT-OUTS, Chefoo China

Made by the Self-help Dept., Women's Bible School, Presbyterian Mission, Chefoo China, [nd] circa 1930.

Handmade album with textured illustrated cloth softcovers, 10.5" x 8.5", 19 pages (on double leaves) with 84 cut-out red paper silhouettes of various sizes adhered to the pages. With a small printed leaf of explanatory text laid-in. NEAR FINE Condition: complete as issued, tight, bright, clean and unmarked. These souvenir books were available to visitors of the Mission in Chefoo, China.

"The cut-outs of Temple Hill are an adaptation of figures of animals, plants, insects, dragons, etc., cut by the women of Shantung for unknown generations." The cut-out were made to adorn various types of cards from Christmas to note cards to help fund the mission.

LIFE IN IRAN The Library of Congress Drawings by Ardeshir Mohassess

Published by Mage Publishers, Washington D.C., 1994. First edition. Introduction by Bernard F. Reilly, Jr. Illustrated softcover, 11.75" x 9.5", 47 pages, filled with captioned b&w illustrations by one of the greatest political satirists of Iran. His prescient and tragic work spoke truth to power and bear witness to the authoritarian forces surrounding the 1979 Revolution and the repressive years that followed under the Islamic Republic of Iran. These drawings depict transformative decades in Iran, first observed from within the country and later from the diaspora. Very Good Condition: a touch of wear to the covers, otherwise tight, bright, clean and unmarked. Uncommon.

Ardeshir Mohassess (b. Iran, 1938-2008), Iran's greatest contemporary graphic artist, His work depicts a crucial time in Iran's modern history, the years surrounding the 1979 Revolution. His fearless critique of the monarchy and clergy, and depicting the shah and his entourage with unrelenting scorn led to increasing censorship and police harassment, prompting his departure from Iran. These images resonate with increasing urgency, a record that asserts art's role as witness, documenting what power seeks to obscure and of preserving memory where official histories fail.

CUTAWAY - ARTIST'S BOOK - 1/45 - DESIGNED & PRINTED by SARAH BRYANT, ALABAMA BASED WOMAN FINE PRINTER / BOOK DESIGNER / ARTIST - AT HER BIG JUMP PRESS, 2007

[ALABAMA: Big Jump Press, 2007].

Hardcover Artist's Book, linen covered boards, embossed design on front cover, 5.25x8 inches (13.5x20.5 cm), unpaginated; in dark blue cloth covered slipcase.

Printed in an edition of 45 numbered copies, this being copy number 15. SIGNED by the ARTIST, Sarah Bryant, on the Colophon page (the last page).

Condition: Fine in a fine slipcase.

See the provided photos for a good idea of the book and its structure, quite amazing.

About CUTAWAY from the Publisher:

******Simple definitions, both visual and verbal, can describe a great many disparate things with the same language. This book features layered cross-section imagery printed on translucent material, removable cards printed with color, and reference language that is mixed and shifted throughout the book. Letterpress printed from polymer plates on mylar, Rives BFK, and Hahnemuhle Copperplate. Contained in a slipcase. Printed in an edition of 45 in 2007.******

About SARAH BRYANT and her BIG Jump Press:

******Big Jump Press is the imprint of Sarah Bryant. Under this name, I produce letterpress printed artist books, prints, broadsides, and hand-bound books. I started Big Jump in 2005 in Tuscaloosa, Alabama while an MFA student at the University of Alabama. After teaching for a few years at the Book Arts Center at Wells College and a few years teaching workshops and short courses all over the United Kingdom, I am back in Tuscaloosa as an Assistant Professor for The University of Alabama MFA Book Arts Program. I make books.******