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Photographic Views of the City of Greenville, Ill

By DeMoulin, Edward (photographer)

Small album containing 142 albumen photographs printed on 40 mounted sheets, most with four photographs to a page, depicting views from around the city of Greenville, Illinois, such as churches (including the "Colored Baptist Church" and "Colored M.E. Church"), private residences, bird's-eye views, the county jail, street scenes, storefronts, tradesmen's shops, saloons, and other establishments; the photographs interspersed with four sheets of printed advertisements on colored paper, and endpapers affixed to front and back boards containing text about the city of Greenville, the photographer, and the local newspaper. Some slight fading to some of the photographs, light toning and dust-staining. Oblong 12mo. Original cloth-backed boards with gilt lettering stamped to front cover, joined by two metal brads, some minor edgewear and very slight fraying along spine. Greenville, Illinois (Edward DeMoulin) n.d. (circa 1892). A brief paragraph about DeMoulin to the inside front cover calls him the "leading photographer" of Greenville, as well as "one of the most progressive photographers in the State" with "one of the best equipped Studios in the Union. His reputation as an artist stands high almost all over this country." Our research did not turn up much information on DeMoulin, aside from an essay titled "Lighting and Posing in Photography" in an 1895 volume titled "Photographic Mosaics: An Annual Record of Photographic Progress", edited by Edward L. Wilson. Very scarce; as of November 2019, WorldCat finds another volume by the same title in a single North American library, but it has slightly less photographs than the present copy.

$1950.00

Psychoanalysa [Psychoanalysis]
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Psychoanalysa [Psychoanalysis]

By Brouk, Bohuslav and Jind ich Štyrský, designer

Prague: Alois Srdce, 1932. Octavo (20.2 × 13.5 cm). Original photomontage wrappers by Jind ich Štyrský; 195, [2] pp. Very light dust-soiling to wrappers; else very good. Bohuslav Brouk (1912-1978) was a Czech psychoanalyst, philosopher, art theoretician, and writer. He was one of the first promoters of Freud's work in Czechoslovakia, a close friend of Karel Teige, and a co-founder of the Czech Surrealist Group in 1934. Considered one of the most original minds of the Czech avant-garde, he was also seen as its enfant terrible. Brouk's postscript for Štyrský's Emily Comes to Me in a Dream (1933), a defense of erotic literature, revealed his great interest in sexual freedom, individual creativity, and modern artistic tendencies. His research in the early 1930s focused on topics such as masturbation, sexology, and fetishes, and his works were often censored. With a trenchant wit and rhetorical talent, he set out to destroy what he saw as everyday myths that make a meaningless existence bearable: ethics, work, sport, and marriage, among others. After the war, he was an outstanding public critic of communist ideology and fled the country after the 1948 coup. The present work contains his controversial and highly original introduction to Freudian psychoanalysis. Vloemans 250. As of November 2019, KVK and OCLC only show four copies in North America.

$750.00

Marxistická filosofie a p írodní v dy [The Marxist philosophy and the natural sciences].; Živé myšlenky, vol. 2

By Haldane, J. B. S. and Karel Teige, designer

Prague: Práce, 1946. Octavo (20.5 × 15.5 cm). Original pictorial wrappers with design and typography by Karel Teige; 161 [2] pp. Unopened and uncut; in protective mylar; very good or better. A translation of the 1939 text by the British scientist and Marxist J. B. S. Haldane, with cover design by Karel Teige, the central figure of the Czech avant-garde. Teige was one of the founding members of the Dev tsil group in the 1920s and responsible for a more pan-European avant-gardism in the Czech art scene. In the 1930s and 1940s, Teige worked more and more in book cover design, creating covers for science, technology, and agriculture texts like this one. This 1946 photomontage cover, with its use of diagonals and the nesting of Lenin and Marx imagery, resembles especially closely the poster and cover designs by the Soviet artist Gustav Klutsis in the late 1930s, making the Soviet influence apparent. Pictured in: "Karel Teige a typografie," no. 492. KVK and OCLC show copies only in Dresden, IISG, the British Library, and the University of Ljubljana.

$100.00

Sapozhnik-velikan: leningradskaia fabrika Skorokhod [The cobbler giant: the Skorokhod factory in Leningrad]
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Sapozhnik-velikan: leningradskaia fabrika Skorokhod [The cobbler giant: the Skorokhod factory in Leningrad]

By Trizna, Ol'ga; designer unattributed

Moscow-Leningrad: Gos. Uch.-ped. Izd-vo, 1931. Octavo (19.5 × 13.8 cm). Original photo-illustrated wrappers; 72 pp. About very good. Intended for Soviet school-age children, this "production book" was published at the height of first Five-Year Plan (1928-1932) when the Soviet state undertook major industrial reforms. The author makes a case for mass production of shoes, focusing on the "Skorokhod" shoe factory in Leningrad. The "dwarf workshop" is pitted against the "factory giant" as the reader is taken through the entire process of shoe production from manufacture of materials, to the factory floor along with 10,000 workers, and on to the distribution of the finished product all over the Soviet Union. The final chapter tells the story of Iakov Kalinin, a former worker at the "Skorokhod" factory killed during the Russian civil war. In 1922 the factory was renamed "I. A. Kalinin" in his honor. Children's "production books" such as this one, describing in detail the construction of factories, production of consumer goods and extraction of natural resources, were modeled on the "production novel," a genre popularized for adults in the Soviet Union during the first Five-Year Plan. Production literature was to communicate excitement about the massive undertaking of rapid industrialization to the Soviet citizens. Highlighting a single heroic worker, in this case Iakov Kalinin, was also typical of the genre. Little is known about the author, Olga Borisovna Trizna (1898-1939), who published several popular production books for adults and children in the early 1930s, with titles such as "The Fight for Bread"; "Silk"; "Rayon: production of artificial fiber" among others. The designer of the striking photomontage cover design is unattributed. As of October 2019, KVK and OCLC only show the copy at Staatsbibliothek zu Berlin.

$450.00

Photographic Archive Covering the Career of Circus Performers Jim and Renee, "The Darings" (aka Edith & Joseph Gieringer)
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Photographic Archive Covering the Career of Circus Performers Jim and Renee, "The Darings" (aka Edith & Joseph Gieringer)

Collection of original photographs and related ephemera chronicling the vaudeville and circus career of "The Darings" and, later, "Jim Daring's Chimps", comprised of 77 original photographs, 8 photo postcards, and 6 additional pieces of assorted ephemera including flyers for the RKO Palace in New York and the former Rocky Point Park in Rhode Island; with approximately half of the photographs being mostly professional 8"x10" photographs and half smaller-format (5"x7" or smaller), a number being amateur and candid snapshots of circus scenes and performers, including a handful signed by Renee and/or Jim Daring, and several inscribed to the Darings from fellow performers. About half of the photographs are captioned to verso in pencil, with notes providing further information and context. Uniformly well-preserved, images generally fresh and unfaded, some with mild edge-creasing, minor rubbing to corners, or slight soiling. Housed in two modern photograph albums. N.p., n.d. (circa 1940-1955). "The Darings" (aka Edith and Joseph Gieringer) began as a daredevil act in the late 1930s, and by the mid-1940s had switched their act to running a successful troupe of performing chimpanzees, following the death of several of their high-wire colleagues. With their new act, "Jim Daring's Chimps", they appeared on nationally-televised broadcasts such as The Arthur Godfrey and Gary Moore Shows. The majority of this collection chronicles the Darings' career in vaudeville and then later with the chimpanzees, while a number of photographs and postcards document other contemporary vaudeville and circus performers who operated within the Darings' circle. Many of these are professional promotional photographs, with several signed to the Darings. Some of the other performers depicted include Miss Luxem, the Stratosphere Girl; Texas Tommy and Baby Doll; the Billetti Troupe; Burt Northrup & Bess; Lillie Greenwood; La Flottes 'Rhapsody on Wheels'; the circus clown Polidor; Aquarena; and others. A fascinating and delightful archive from the worlds of vaudeville and the circus.

$3500.00

Washington Horse Racing Commission Research
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Washington Horse Racing Commission Research

By Williams, George A. & Ernest C. Stone

Unpaginated (54 typed leaves printed recto only) original typed research report by Williams, a veterinarian, and Stone, a chemist, documenting their attempts to effectively perform saliva and urine tests on thoroughbred racing horses to detect the existence of performance-enhancing drugs and stimulants, including information on the collection of fluids, a chemical analysis of synthetic drugs, and the effect of the drugs when administered to horses in varying amounts, illustrated with ten original photographs of various substances at a microscopic level and one page with several small original chemical illustrations. Overall very fine condition. 4to. Original cloth-covered boards, title impressed in green ink. Some very slight rubbing, especially to corners and edges of spine. N.p. (Olympia, Washington) (Washington Horse Racing Commission) n.d. (1941). The beginning of the report lays out the method used by Williams and Stone to photograph alkaloid-double-salt crystals, which they appear to have developed themselves via a series of experiments. They settled upon a method using "triple S panchromatic film and exposing for a period of from five to ten seconds (depending on the crystals photographed and the amount of light available)" which produced "satisfactory photomicrographs". They follow this with the exact solutions they used to develop the film as well as to fix the photomicrographs. Their pioneering work appears similar to the methods used beginning in the 1970's during Reagan's "War on Drugs" and later to test for performance-enhancing drugs in humans. As of November 2019, WorldCat does not locate any listings for this report; a possibly unique and highly technical work.

$2250.00

Na úskalí [On the Rocks]

By Shaw, George Bernard and Ladislav Sutnar, designer

Prague: Družstevní práce, 1936. Octavo. Original pictorial wrappers by Ladislav Sutnar; 203, [1] pp. About very good. First edition of the scarce paperback version with Sutnar's photomontage-illustrated wrapper. One of 900 copies printed. A hardcover edition with the bound-in cover was also published and is encountered more frequently. Translated by Frank Tetauer and Vladimir Vendýš. Title page drawing by Zdenek Kratochvil. As of November 2019, KVK and OCLC only show six copies in North America.

$200.00

Pa íž se baví [Paris is having a good time]

By Marèze-Cheronval and J. R. Vávra, designer

Prague: L. Mazá , 1931. Octavo. Original pictorial wrappers by J. R. Vávra; 207, [2] pp. About very good; very light wear to lower edge of front wrapper and spine extremities. Jaroslav Raimund Vávra (1902-1990), though far less well-known than Sutnar and Teige, was a designer of numerous accomplished photomontage-illustrated books. Not in Toman. As of November 2019, KVK and OCLC only show one copy in North America.

$250.00

Socialismus v Sovetskem svazu zvít zil [Socialism has triumphed in the Soviet Union]
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Socialismus v Sovetskem svazu zvít zil [Socialism has triumphed in the Soviet Union]

By Manuilskii, D. S. and J. Svoboda, translator

Prague: Fr. Nedv d, 1935. Octavo. Original pictorial wrappers; 46, [1] pp. Some color offsetting to first and last page; a few nicks to fragile spine; still good or better. Reproduces the text of a triumphalist speech about the successes of Soviet construction and industry, held at the seventh congress of the Communist International. With an anonymous wrapper design incorporating cheerful faces, Soviet farmers, industrial landmarks, and Red Army soldiers. Not in Toman. As of November 2019, KVK and OCLC show no copies in North America.

$250.00

D jiny Spojených Stát [Pocket history of the United States]

By Nevins, Allan and Henry Steel Commager; Karel Teige, designer

Prague: Meltantrich, 1947. Octavo. Original pictorial wrappers; 376, [3] pp. Very good, in protective mylar. A late photomontage design by Karel Teige. Translated by St. Budin. A hardcover version was also published. See Karel Teige a typografie 5.2.1.

$125.00

Bludnost jedné představy [The deviousness of one idea]
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Bludnost jedné představy [The deviousness of one idea]

By Brouk, Bohuslav and Karel Černý, designer

Prague: self-published, 1941. Small octavo. Original illustrated card wrappers; 20, [1] pp. Some underlining in blue ink in text. Striking photo-illustrated design by Karel Černý. A fine copy. Bohuslav Brouk (1912-1978) was a Czech psychoanalyst, philosopher, art theoretician, and writer. He was one of the first promoters of Freud's work in Czechoslovakia, a close friend of Karel Teige, and a co-founder of the Czech Surrealist Group in 1934. Considered one of the most original minds of the Czech avant-garde, he was also seen as its enfant terrible. Brouk's postscript for Štyrský's Emily Comes to Me in a Dream (1933), a defense of erotic literature, revealed his great interest in sexual freedom, individual creativity, and modern artistic tendencies. His research in the early 1930s focused on topics such as masturbation, sexology, and fetishes, and his works were often censored. With a trenchant wit and rhetorical talent, he set out to destroy what he saw as everyday myths that make a meaningless existence bearable: ethics, work, sport, and marriage, among others. After the war, he was an outstanding public critic of communist ideology and fled the country after the 1948 coup. The present work is one of six smaller pamphlets privately published as gifts to Brouk's friends and not offered for sale. They all feature striking cover designs by Toyen, Štyrský, and Černý. This work features a fine photo-montage design by the painter Karel Černý. As of November 2019, KVK and OCLC only show one copy in North America.

$1250.00

Front-Illustrierte: Für den Deutschen Soldaten. No. 2 (August 1941) through No. 83 (July 1944)
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Front-Illustrierte: Für den Deutschen Soldaten. No. 2 (August 1941) through No. 83 (July 1944)

Altogether 63 issues of 97 total published. [Moscow?], 1941-1944. Various sizes. Original photo-illustrated self-wrappers; most 4 pp. each. Paper size varied, some trimmed, most offset in various color halftones with red highlights, some scattered toning and creasing as expected, slight rubbing, minor scattered pencil and red pencil marks to a few issues, slight rubbing, No. 2 with some marginal tearing, overall very good. The present grouping is an extremely rare and substantial collection of this scarce, irregularly published Soviet propaganda serial, known only in three partial holdings in North America. Distributed aerially over German-held territories form 1941-1945, it reported on catastrophic losses at the Eastern Front and urged German soldiers to surrender, with reproductions of grim photographs of violence and privation, often juxtaposed with images of the comforts of home, notable for its striking photomontages and typographic design, and including caricatures of Hitler and German generals. Front-Illustrierte was perhaps the most ambitious aerial propaganda series of WWII, maintaining its distinctive layout and almost exclusive use of photomontage over four years and close to 100 issues. The dramatic slogans promise misery and death to the Germans while the startling and sophisticated illustrations are evidence of the ongoing importance of Russian avant-garde iconography in Soviet art and its convincing repurposing as enemy propaganda toward an audience familiar with the visual techniques of international modernism. The photomontages were almost all the work of a single artist, Alexander Zhitomirsky, previously an art director for Illiustrirovannaia gazeta, the weekly illustrated supplement to Pravda. Zhitomirsky's compositions are a compelling combination of constructivist devices no longer in use in Western Europe in the 1940s and the photomontage strategies practiced so successfully by John Heartfield in Arbeiter Illustrierte Zeitung (AIZ). Zhitomirsky was strongly influenced by Heartfield (in fact, the name of Front Illustrierte Zeitung was deliberately chosen to echo AIZ), and his work was later praised by Heartfield during a 1961 Berlin retrospective arranged to commemorate the legendary photographer's 70th birthday. See Konstantin Akinsha, The Second Life of Soviet Photomontage, 1935-1980s, PhD diss., University of Edinburgh, 2012, pp. 249-279).

$17500.00

Jen zem  (Rien que la terre) [Nothing but the earth]
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Jen zem (Rien que la terre) [Nothing but the earth]

By Morand, Paul and Jarmila Fastrova, translator

1928. Prague: Václav Petr, 1928. Octavo (23 × 13.8 cm). Original pictorial wrappers by C. Bouda; 116, [1] pp. Very good, in protective mylar. A Czech translation of a fictional travelogue, written in 1926 by the French modernist Paul Morand (1888-1976). The photo-montage cover design was done by the celebrated graphic artist Cyril Bouda (1901-1984) in the style of Czech poetism, as a "picture poem." First introduced by the artist Karel Teige and poet Vitseslav Nezval in 1923, this avant-garde movement dominated Czech book design throughout the interwar period. KVK, OCLC show copies at Toronto, Boulder, BnF and Dresden.

$175.00

Teikokukan ny su [Teikokukan news]. Group of forty film programs
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Teikokukan ny su [Teikokukan news]. Group of forty film programs

By Asakusa Teikokukan (Cinema Theatre)

[Tokyo]: Asakusa Teikokukan, circa 1930-1934. Small octavos (15 × 11 cm). Original pictorial and photo-illustrated wrappers; between 6 and 14 pp. per issue. Contents illustrated in black and white with numerous film stills and photographs; wrappers (rectos and versos) in color. All but nine issues with the weekly schedule of screenings cut-out, affecting upper half of one page per issue. Rear wrapper detached to no. 195; otherwise very good. A visually striking and well-preserved ephemeral source of information on domestic cinema in interwar Japan, and an appealing example of the vibrant modernism of Japanese graphic design. The wrappers incorporate both selections from film stills and advertisements in interesting photo-montage designs, usually printed in two colors, often on variously colored stock. With additional designs to the insides of wrappers, as well as black-and-white photographs, film descriptions, and weekly programming within. These weekly film programs (which range from issues 87 to 284 - inquire for a list of issues), were issued by the Teikokukan cinema chain, which first emerged in Tokyo's Asakusa neighborhood and later spread to other districts and cities. As of August 2019, we cannot trace any copies in either KVK or OCLC.

$2250.00

Collection of Tattoo Photography
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Collection of Tattoo Photography

Approximately 300 close-up original photographs of tattoo artwork from the 1970s, 1980s, and 1990s, predominant imagery includes Harley Davidson symbols, roses and other flowers, skulls, skeletons, dragons, unicorns, tigers, panthers, and eagles, with a number of photographs depicting before and after shots of some crude and unprofessional tattoos being altered or enhanced, and a handful of photographs annotated to verso as being the work of respected tattoo artist Mike Armstrong of the Blue Dragon tattoo parlor in Morelia, Mexico. Almost all photographs 3" x 5", a small number slightly larger or slightly smaller or cut down. Loose as issued, housed in a contemporary photo album. N.p. (Phoenix? and Morelia, Mexico), 1970s-1990s. Early in the history of tattooing, tattoos were almost exclusively found on criminals and sailors and considered low-class. In the 1960s and 1970s, tattooing was primarily a way to demonstrate rebellion within outsider cultural groups such as biker gangs or hippies. However, by the late 1970s and 1980s, tattoos were becoming much more mainstream and fashionable, and a way for people to express themselves. Tattooing has now been elevated to an art form, and this photo archive is from an interesting transitional period when tattooing began that shift from outsider into mainstream culture.

$2500.00

Manshu teikoku shashin takan. (A Grand Photographic Atlas of the Manchukuo Empire.)
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Manshu teikoku shashin takan. (A Grand Photographic Atlas of the Manchukuo Empire.)

Large album of 60 photographic plates printed on thick paper, published to commemorate the fifth anniversary of the founding of the Japanese puppet state of Manchukuo, edited by Sakata Yataro, and distributed as a sort of propaganda targeted at a Japanese audience, the plates depicting scenes including the Mukden or Manchurian Incident, the signing of the founding of the Manchukuo state, Emperor Puyi and his visit to Japan, the Kwantung army and its leading officers, government offices, elementary school education, the Manchukuo central bank and its currency, railroads, the postal system, agriculture, fisheries, salt production, street scenes in Harbin with signage in Japanese, English, Chinese and Russian, monuments to martyrs, the Great Wall, marriages, funerals, and many others, as well as texts such as the national anthem of Manchukuo and documents regarding Japanese-Manchukuo friendship and solidarity. Some scattered foxing and toning. Folio. Original cloth portfolio box case, one closure missing, plates unbound as issued. Some minor soiling, abrasions to case. n.p. Manshu Kyozai Shuppan, 1937. The publisher of this volume was an educational materials company, and this collection of plates may have been used to explain the founding of Manchukuo and Japan's imperial project. The volume also comes with an endorsement from Minami Jiro, the Governor-general of the Japanese colony of Korea, in the form of a calligraphic inscription which reads: "Korea and Manchuria as one." As of September 2019, we were not able to locate this work via WorldCat.

$5500.00

Three photographs of the underground printing premises of NOWa (Niezale na Oficyna Wydawnicza) [The Independent Publishing House], the first independent publishing house in Poland. Warsaw: [1977-1980?]

Prague: 1977-1980. Original gelatin prints, measuring 23 × 16.5 cm. Very good; one image with light foxing to upper margin. NOWa [The Independent Publishing House], was Poland's preeminent underground independent publisher; it was not run or regulated by the state and was not subject to state censorship. Established in 1977, NOWa was sponsored by the Commttee for Socal Self-Defense (KOR), forerunner to the more famous Solidarno (Solidarity), Poland's and the Soviet bloc's first independent trade union and the seat of Polish opposition in the 1980s. KOR provided the startup capital for NOWa which printed most of KOR's fliers and educational materials. The central demands of KOR were the right to have an independent worker's union (to self-organize) and to go on strike. Like KOR, NOWa was not anti-communist, instead it wanted to create an independent press that was free of censorship. "The Balck Book of Polish Censorship" (1978) was one of the first major hits of the publishing house, based on the documents of the Warsaw censorship office smuggled out of Poland by one of its employees and first printed abroad in 1977. NOWa was also a leading publisher of banned literature, such as works by Witold Gombrowicz, Günter Grass, Bohumil Hrabal, George Orwell, or Joseph Brodsky. By 1978, NOWa was able to compete with state publishers in quality and was able to attract famous contemporary Polish authors. This gave contemporary Polish authors an alternative to the state, which helped them curb self-censorship and write more honestly and freely. NOWa's activities, like those of most non-governmental organisations in Poland, were in a legal grey zone. Publishers faced harrassment and unpredictable short arrests but were not persecuted as harshly as simmilar operations in other Soviet block nations. Siobhan Doucette writes: "NOWa worked on two planes: aboveground and underground. In keeping with the KOR ideal of transparency, NOWa had an open editorial board which came to include Miroslaw Chojecki, Konrad Belinsky, Adam Michnik, Ewa Milewicz, and Grzegorz Boguta. This gave the publishing house a public face, which not only provided potential readers, writers and printers with a point of contact but also the state authorities. Accordingly, NOWa also maintained a silent editorial team to help prevent the confiscation of publishing materials. Most of its printers and distributors also remained anonymous. By 1978 about two hundred people worked with NOWa" (Books are Weapons: The Polish Oppositional Press, and the Overthrow of Communism). Printing was done in different locations that changed regularly, usually houses on the outskirts of Warsaw. NOWa's visibility made it a primary target during the crackdown on opposition during the martial law and most of its leading activists were arrested. Despite the crackdown, NOWa continued operations throughout the 1980s, and worked closely with Solidarity, publishing many of its serials such as Marzowe Weekly. The three photographs in this collection capture the anonymous printers, their faces covered with rags. The images show the printing process, done on a printing press that was hand fed. Stacks of publications in the background indicate that this was a large operation. Although the faces of the printers are covered the photos are potentially staged with humor, as one of the printers wears glasses over the cloth that disguises his face. Judging by the clothing of the printers the photographs were taken sometime in the late 1970s and likely printed shortly after considering the light foxing along the top edge of one of the protographs. A collection of sixteen similar images was featured as no. 879 in the Temmen Monograph (Forschungsstelle Osteuropa Samizdat. Alternative Kultur in Zentral- und Osteuropa: Die 60er bis 80er Jahre).

$950.00

Arbeiter in U.S.A. [The Worker in the United States]
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Arbeiter in U.S.A. [The Worker in the United States]

By Dubreuil, Hyacinthe and Jan Tschichold, designer

Leipzig: Bibliographisches Institut, [1930]. Octavo (18.5 × 12.5 cm). Original pictorial wrappers; 364 pp. Original photomontage and typographically illustrated wrappers by Jan Tschichold. Very minor soiling and edgewear. Ex-libris copy with rubber stamps to title page ("Karl Eidiner, Ingenieur"). Scarce work on American industry and laborers as seen from the perspective of a Frenchman, being the 1930 German edition of the 1929 original in French titled Standards - Le Travail Américain vu par un Ouvrier Français, detailing Dubreuil's own experiences working in American factories in 1927 and 1928, where he was impressed by the organization of the work and the standard of living of the American worker, as well as the collaborative and less typically hierarchical climate he encountered in American businesses. Dubreuil was a trade unionist and member of the CGT (Confédération Génerale du Travail) who in 1912 became Secretary of l'Union des ouvriers mécanicien da la Seine, then Secretary General, before becoming the secretariat at l'Union des syndicats de la Seine. In 1931, Dubreuil distanced himself from the CGT and joined the International Labor Office. This work became hugely popular, selling 30,000 copies in France alone. See Jackie Clarke, France in the Age of Organization (2011). As of November 2019, KVK and OCLC show six copies in North America.

$850.00

Photographs of School Houses and Other Institutions in Worcester, Massachusetts, U.S.A.
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Photographs of School Houses and Other Institutions in Worcester, Massachusetts, U.S.A.

By Marble, Albert P., compiler

A significant album of 19th century architectural photographs comprised of 10 pages of descriptive introductory text , printed recto only, followed by thirty-two mounted albumen photographs on captioned card mounts, depicting various schools and other public buildings in Worcester including the Worcester Public Library, the College of the Holy Cross, Worcester Academy, the Highland Military Academy, and many others, the photographs primarily depicting building façades along with a few elevations and floor plans. Small oblong folio. Contemporary three-quarter green morocco with marbled boards, leather label to front cover, marbled endpapers. Some very light scattered toning and wear, minor chipping to some mounts at corners, crack along spine, edgwear and minor abrasions to boards, overall very good. Worcester (Charles Hamilton) 1873. Handwritten inscription by Albert Marble to title page. A rare and wonderful source of early Massachusetts architectural photography, with a scattering of notations throughout from Marble himself. At the time, Marble was the Superintendent of Public Schools in Worcester. A note to the title page reads, "This volume was exhibited at the Vienna Exposition, 1873. APM." The 1873 Vienna Exposition brought together almost 26,000 exhibitors from around the world under the motto of "Culture and Education." The full list of buildings depicted in this volume is as follows: Worcester High School House, Walnut Street School, State Normal School, Thomas Street School, Sycamore Street School, Providence Street School, New Worcester School, Salem Street School, Dix Street School, Lamartine Street School, South Worcester School, Edgeworth Street School, Woodland Street School, Belmont Street School, Ledge Street School, Worcester Public Library, College of the Holy Cross, Antiquarian Hall, Worcester Technical School, Highland Military Academy, Oread Collegiate Institute for Young Ladies, Worcester Academy, and an orphans' home. Incredibly scarce; as of June 2019, WorldCat locates only two institutional holdings of this volume.

$9500.00

Group of 19th Century Massachusetts Revolutionary War Site Cyanotypes
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Group of 19th Century Massachusetts Revolutionary War Site Cyanotypes

Small collection of eleven cyanotypes depicting sites in the greater Boston area related to the Revolutionary War and parades honoring Revolutionary War heroes, most captioned and dated to verso, the captions hand-written and the dates either written in pencil or rubber-stamped, each photograph also stamped either "Boston, Mass." or "Charlestown, Mass.", sites depicted include: a house on Prince Street used as a hospital by the English after the Battle of Bunker Hill; another house on Prince Street where the British Major John Pitcairn died from wounds received at the Battle of Bunker Hill; the birthplace in Charlestown of Civil War General Charles Devens Jr.; the Boston headquarters of British commander-in-chief General Thomas Gage; and the Soldiers' & Sailors' Monument in Charlestown. Images of varying size, most measure approx. 5" x 8". Loose as issued. Boston, 1890-1894. The cyanotype process was developed in 1842 by the scientist and astronomer John Frederick Herschel, and is a photographic printing process often used to create blueprints and copies of notes, or even prints of objects from nature. This collection of cyanotypes is accompanied by a letter dated January 12, 1894 and addressed to Captain Luke Smith of Acton, Massachusetts, which states that these "blue prints" would be of interest to the Captain, whose father fought in the Revolutionary War. Six of the images are also inscribed to verso, "For Capt. Luke Smith."

$2250.00

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