Signed Art & Design Books

A first edition copy of The Kingdom of the Pearl, signed by Edmund Dulac.<ul><li>Léonard Rosenthal (Russian).</li><li>Plates by Edmund Dulac (French-British).</li><li>London: Nisbet &amp; Co., Ltd, [1920].</li><li>Quarto.</li><li>151 pages.</li><li>10 mounted color plates by Edmund Dulac.</li><li>Number 98 of an edition of 100 copies signed by Dulac.</li><li>Bound in the publisher’s half vellum, top edge gilt, rest uncut.</li></ul>

The Kingdom of the Pearl

A typed letter from Motherwell on Spanish politics and art.<ul><li>Robert Motherwell (American).</li><li>Signed “Robert Motherwell,” to Nancy Macdonald of Spanish Refugee Aid Inc. of NY.</li><li>909 North Street, Greenwich, CT:&nbsp;March 31, 1980.</li><li>Two pages on letterhead.</li><li>Presented in brown cloth chemise.</li></ul> Lengthy typed letter with content concerning Motherwell’s uneasy negotiation of Spanish politics and art. In 1980, the Juan March Foundation and the Catalan bank La Caixa organized the first exhibition of Motherwell’s work in Spain. His series of works titled Elegies for the Spanish Republic, begun in 1949 and continued until his death in 1991, totaled more than 170 works and would strongly link the artist with anti-Francosim and the lost Spanish Republic. However, as this letter demonstrates, in person, Motherwell maintained a professional, neutral stance, and seemed to have trouble engaging the Spanish in any political conversation. Reading, in part:“I didn’t realize at the time of the New York Times announcement that, though the Juan March Foundation originated the show, in Barcelona it was under the auspices of the largest savings bank in Catalonia, ‘la Caixa,’ at a small museum they have acquired. If I understand correctly, it is either Spanish or certainly Catalonian law that such a bank must spend 50% of it’s annual profits on culture … The Jaun March Foundation, as far as I can tell, is almost an exact equivalent of the J.S. Guggenheim Foundation here … They seem extremely wealthy, honorable in intent, and highly efficient — I mean an almost IBM-corporate efficiency, shattering every cliché about ‘mañana’ (what is ironic is that the fabulously wealthy Juan March was the financial backer of Franco, and yet in my show are major ‘Elegies to the Spanish Republic.’). My impression, for what it’s worth, is that there’s a kind of understanding that anything scholarly or artistic can be done as long as one stays away from partisan politics. For instance, Barcelona insisted that I be present and treated me beautifully, while the Juan March people [from Madrid] had implied that it wasn’t necessary to go to Barcelona, and immediately descended on the scene. As you know, there are tremendous Separatist movements in Spain …&nbsp; Being a fish swimming in foreign waters, I asked various people who know the scene what to do, and the concensus [sic] is that it is a Spanish labyrinth that is *their* problem … Naturally my own interest is in the artistic community, which seems both aware and touched by any outside support. But my experience in Barcelona was (as in Germany, for example) that political discourse is conspicuous by its absence in any general conversation … Everything I have said is impressions — I found the Spanish, unlike Latin Hispanics, extremely reserved and discrete, almost like old-time New England Yankees. What lies underneath I really don’t know … I realize I am a bit vague because I really don’t *know* anything. I have been going on the artist in me, which senses tensions, pride and formality, eagerness and extreme vulnerability, and since I am not by nature an activist, I have reacted with thorough professionalism instinctively, which seems to be precisely correct … Naturally I find it both strange and irresistable [sic] to show my Hispanic sympathies under such auspices, but there are unexpected occasions: for instance, I’ve given a small ‘Elegy to the Spanish Republic’ to the University of Salamance (the oldest one in Spain), and they wish to honor me with a ceremony, which I presume the central government is aware of, and I personally somewhat dread, not being an exhibitionist but an exhibitor … In Barcelona, several young artists told me that, after hearing me speak and reading an interview with me, they were determined to leave for New York. In short, my whole experience is basically as an individual with other individuals, as it is here at home, for that matter. (I have stuck with the Guggenheim Foundation because it is the only Foundation that gives exclusively to individuals, *not* institutions.)”

Robert Motherwell Typed Letter To Nancy Macdonald

A first edition, signed Roy Lichtenstein exhibition catalog.<ul><li>Roy Lichtenstein (American).</li><li>Essays by curator John Coplans.</li><li>Pasadena: Pasadena Art Museum, 1967.</li><li>Approximately 64 pages.</li><li>With black and white and color illustrations.</li><li>From a limited edition of 1,700 copies.</li><li>Signed and dedicated by Lichtenstein in ink on the interior first page.</li><li>Includes a transcribed interview with the artist, exhibition checklist, biography, bibliography and exhibition history, and reproductions of more than several 1960s Lichtenstein masterpieces.</li><li>Published on the occasion of: Roy Lichtenstein at the Pasadena Art Museum &amp; Walker Art Center 1967, the artist's first museum retrospective.</li><li>Softcover, cover designed by Lichtenstein.</li></ul>

Roy Lichtenstein Compositions Exhibition Catalog

A signed sheet of Roy Lichtenstein Real Estate inscribed letterhead.<ul><li>Hand-signed and inscribed “thanks” in blue ink by Roy Lichtenstein.</li><li>Offset printed letterhead stationery on woven paper.</li><li>This work is presented matted.</li></ul> “Because if you write to enamel companies [with that on your letterhead] they will take you seriously.”—Roy Lichtenstein, on his letterhead image, 1993 Born in New York, NY, Lichtenstein attended the Art Students League during his teenage years before enrolling at Ohio State University to study art. In 1943, Lichtenstein was drafted into the army, serving for three years before returning to school. In 1949, he received an MFA, and continued to teach and paint in Ohio for several years. His early 1950s works, painted in a European Modernist style, frequently depict uniquely “American” subjects, including scenes of western expansion and an adaptation of Emanuel Gottlieb Leutze’s famous Washington Crossing the Delaware (1871). In the 1960s, Lichtenstein moved to New Jersey to teach at Rutgers University, and began his iconic comic strip works, which marked a distinct break with his previous aesthetic. Lichtenstein was motivated to create works that no one would want to hang on the walls, later commenting, “The one thing everyone hated was commercial art; apparently they didn’t hate that enough, either.” A solo show of such works at the Leo Castelli Gallery in 1962 garnered him critical acclaim and notoriety in the art world. His work continued to incorporate pop culture themes, displaying static images of figures, brushstrokes, landscapes, mirrors, reflections and other subject matter in an ironic style. His later works feature close examinations of illusionism and the representation of reality in art. A very prolific, celebrated and sought-after artist, Lichtenstein created many public sculptures during his lifetime, and his work has been the subject of many retrospectives around the world. He died in New York City in 1997 at 74 years old.

Roy Lichtenstein Real Estate Hand-Signed Letterhead

A signed copy of The Garden: A Portfolio of 6 Photographs.<ul><li>Paul Strand (American).</li><li>New York: Strand/Hoffman, 1976.</li><li>Folio.</li><li>Limited to 50 copies, this being number 13, signed in the shaky hand of the photographer.</li><li>Laid in loose, in green cloth dropbox.</li></ul>

The Garden

A limited edition copy of Life in Photographs, signed by Paul McCartney.<ul><li>Linda McCartney (American).</li><li>Germany: Taschen,&nbsp;2011.</li><li>Large folio.</li><li>Number 635 of 750 copies.</li><li>Bound in cloth, pictorial upper cover, in matching cloth clamshell box.</li></ul>

Life in Photographs

A first edition hardback copy of the book Hockney’s Alphabet, signed on an inside title page by Hockney and also by the editor.<ul><li>David Hockney (English).</li><li>Edited by Stephen Spender.</li><li>The book is bound in yellow buckram, printed on exhibition fine art cartridge paper and housed in the grey cloth slip case.</li></ul> The book is a collaboration between David Hockney and several British and American writers who contributed text to go along with the illustrated alphabet, all to raise money for the AIDs Crisis Trust. Contributors included Douglas Adams, Martin Amis, Julian Barnes, William Boyd, Margaret Drabble, Patrick Leigh Fermor, William Golding, Seamus Heaney, David Hockney, Kazuo Ishiguro, Erica Jong, Doris Lessing, Norman Mailer, Ian McEwan, Arthur Miller, Iris Murdoch, Nigel Nicolson, John Julius Norwich, Joyce Carol Oates, V. S. Pritchett, Craig Raine, Susan Sontag, Stephen Spender, John Updike, Anthony Burgess, Ted Hughes, Paul Theroux, Gore Vidal and T. S. Eliot. Norman Mailer declined his invitation, but his "letter refusing seemed such a good model for Polite Rejection" that it was published as his contribution.

Hockney’s Alphabet 

A signed copy of L'Alouette.<ul><li>Joan Miró (Spanish).</li><li>Text by René Char (French).</li><li>Paris: GLM, 1954.</li><li>Small oblong quarto.</li><li>One leaf, unfolded.</li><li>Signed by the author and the artist on the verso.</li><li>Part of a limited edition, one of 30 copies hand-colored by Miró, from a total edition of 100.</li><li>Lithograph heightened with watercolor, pastel and India ink on wove paper.</li></ul>&nbsp;One of 30 copies with original hand-coloring by Miró. This example has extensive additions, with a blue background to the text, the artist’s fingerprints in red and black, ink line drawings to the lithograph, as well as brightly colored dots to the justification. The artist decorated the thirty examples with different illustrations, making them each unique but retained some similar elements such as the red dots and line drawings. René Char and Joan Miró had met during the Surrealist period, but their friendship dated from the post-war years when Miró returned to France. L'Alouette is their third collaborative work. A notably scarce work even for unsigned examples both on the market and institutionally. There are only two copies in libraries, at Yale University and the Bibliothèque Nationale de France.

L'Alouette

The complete portfolio of etchings (two more than the regular edition), all signed and numbered by Miró.<ul><li>Joan Miró (Spanish).</li><li>Geneva: G. Cramer, 1977.</li><li>Folio.</li><li>Limited edition, one of 15 copies with two additional etchings, from a total edition of 83.</li><li>Signed and numbered in pencil by Miró on the justification.</li><li>Loose as issued, original printed vellum wrappers designed by Miró, bound in the original printed vellum wrappers, housed in the publisher’s beige cloth with title printed in black.&nbsp;</li></ul> Gualtieri di San Lazzaro was an Italian writer and art publisher. For the majority of his life, he resided in Paris where he published monographs focusing on the work of contemporary French and Italian artists. He was the founder of the periodical XXe Siècle. Angel Juncosa has been on the board of trustees of the Miró Foundation since 1983.

Hommage à San Lazzaro

A limited edition, signed copy of Revolving Doors by Man Ray.&nbsp;<ul><li>Man Ray (American).</li><li>Turin: Luciano Anselmino, 1972.</li><li>Large folio.</li><li>Complete portfolio of 10 pochoir prints.</li><li>Signed and numbered by the artist on the justification.</li><li>Part of an edition of 100 copies on Velin d’Arches paper.</li><li>Prints loose as issued and unbound in plain wrappers, in the original black cloth solander box with "Man Ray" on the spine.</li></ul>&nbsp;Man Ray created a series of collages of geometric shapes titled Revolving Doors between 1916 and 1917. They were included in his third solo show at the Daniel Gallery in New York and were installed on a rotating pole that the viewer could spin, bringing the machine-like anthropomorphic forms to life. The original collages were destroyed, but he later reproduced them in this series of pochoirs, also including the explicative text which originally accompanied each work.

Revolving Doors

A Bigger Book&nbsp;is a majestic visual survey of Hockney’s more than 60 years of work.<ul><li>Sold as a set of 2: book and bookstand.</li><li>First listing photo of book on stand is for reference only and is not a photo of the actual copy for sale.</li><li>Köln: Taschen,&nbsp;2018.&nbsp;</li><li>Elephant folio.</li><li>498 pages.</li><li>13 foldouts, with an illustrated 680-page chronology book.</li><li>Signed by David Hockney.</li><li>Part of a limited collector's edition, this being number 1,343 of 10,000.&nbsp;</li><li>Housed in publisher's original box with limited-edition label.</li><li>Presented with a Marc Newson bookstand for display.</li></ul>

A Bigger Book

A copy of Joyce's classic, signed by Henri Matisse.<ul><li>James Joyce (Irish, 1882-1941).</li><li>Illustrated by Henri Matisse.</li><li>New York:&nbsp;Limited Editions Club,&nbsp;1935.&nbsp;</li><li>Quarto.</li><li>363 pages.</li><li>Numbered 1,009, from an edition of 1,500.</li><li>Signed by illustrator Henri Matisse on limitation page.</li><li>Bound in brown cloth with gilt lettering on spine and gilt stamped decoration on front cover, housed in publisher's orange paper slipcase.</li></ul>

Ulysses 

A signed, limited-edition copy of this photography portfolio by Paul Penrose.<ul><li>Paul Penrose (English).</li><li>Introduction by John Fowle.</li><li>Wellingborough:&nbsp;Skelton's Press,&nbsp;1982.&nbsp;</li><li>Folio.</li><li>Fifteen black and white photographs each mounted on off-white mat.</li><li>Numbered 15. from an edition of 25.</li><li>Each photo is signed by Paul Penrose and numbered 15/25.</li><li>The introduction page is signed by introduction writer John Fowles.</li><li>Housed in blue buckram clamshell box with vellum-covered inner box, folding enclosure protecting photos, and tray containing linen gloves for viewing.</li></ul>

Fifteen Photographs of Lyme Regis

A signed, first edition, first printing copy of Marina Abramović's Artist Body.<ul><li>Marina Abramović (Serbian, b. 1946).</li><li>Milano:&nbsp;Charta,&nbsp;1998.&nbsp;</li><li>Quarto.</li><li>475 pages.</li><li>Front free endpaper with an original ink drawing by Marina Abramović, featuring a tracing of her foot and her hand, dated "99 N.Y."</li><li>Spine red with white lettering, dust jacket protected with a mylar covering.</li></ul>

Artist Body – Performances 1969-1998 

A limited edition of King Arthur, which has been signed by the illustrator.<ul><li>Sir Thomas Malory (English, died 1471).</li><li>Illustrated by Arthur Rackham.</li><li>London: Macmillan and Co., Ltd., 1917.</li><li>Illustrated with 16 tipped-in color plates (titled tissue guards after each plate) and 70 black and white illustrations.</li><li>Limited to 500 numbered copies signed by the illustrator Arthur Rackham, this being copy #243.</li><li>Bound in the original publisher's gilt stamped vellum, top edge gilt, others uncut, housed in a 1/2 gilt lettered &amp; decorated, blue morocco clamshell slipcase.</li></ul> Rackham received his commission for this superbly illustrated edition of Malory's masterpiece (first published by Caxton in 1485) while World War I still raged—a fact that perhaps explains his illustrations' generally dark view of the Matter of Britain. From Arthur's first unsheathing of Excalibur in the midst of fierce battle beneath overcast skies, to his tragic clash with his traitorous son on the dark fields of Camlann, Rackham confronts readers with combat, conflict and death. Despite (or perhaps even because of) this grim realism within a fantastic context, "Rackham's work became balm for wounded soldiers, as one mother wrote: ' ...When [my son] was getting better from very bad wounds... your illustrations of Books were his great joy and delight'" (Hamilton, 112).

The Romance of King Arthur and His Knights of the Round Table

A limited edition of Hans Christian Andersen's Fairy Tales.<ul><li>Hans Christian Andersen (Danish).</li><li>Illustrated by Kay Nielsen.</li><li>London: Hodder &amp; Stoughton, 1924.</li><li>197 pages.</li><li>12 tipped-in color plates and many full-page black-and-white plates throughout.</li><li>One of only 500 numbered copies signed by the illustrator.</li><li>Bound in the original full vellum, gilt-stamped boards and spine, top edge gilt, other edges uncut.&nbsp;</li><li>Housed in custom window-framed slipcase.&nbsp;</li></ul> Nielsen illustrates the work of fellow Dane, Andersen, in this gorgeous deluxe gift book with a style mixing "some of the decorative design of Art Nouveau with the bold shapes of Art Deco" (Menges). Includes "The Snow Queen," "The Nightingale" and more.&nbsp;

Signed Illustrated Limited Edition Fairy Tales

A signed, limited edition copy of She Stoops To Conquer.<ul><li>Oliver Goldsmith (Irish).</li><li>Illustrated by Hugh Thomson.</li><li>London: Hodder &amp; Stoughton, 1912.</li><li>198 pages.</li><li>Includes an original signed drawing of a character from the book.</li><li>Includes 26 tipped-in color plates, plus many in-text illustrations.</li><li>Part of an edition of 350 numbered copies signed by Thomson—this a presentation copy, which is not numbered.</li><li>Bound in the original full elaborately gilt-stamped vellum, top edge gilt, other edges uncut, ties renewed.</li></ul> Thomson has drawn the figure of a man in period dress celebrating by kicking up his heels, taking off his hat and waving a whip in the air. The man is Tony Lumpkin, a character from the play. Thomson captioned the piece: "'And Tony Lumpkin is his own man again' / p. 197"; he has signed it, "With / Hugh Thomson's / kind regards / December 1912."

She Stoops To Conquer with Signed Drawing

Signed first and only edition of Ruscha and Bengston's collaborative book.<ul><li>Edward Ruscha (American).</li><li>Billy Al Bengston (American).</li><li>Hollywood, CA: Heavy Industry Publications, 1968.&nbsp;</li><li>21 photographic illustrations.</li><li>Black and white photograph mounted to front cover.&nbsp;</li><li>Part of an edition of 1,000 copies.</li><li>Signed by Ruscha and Bengston on front cover.&nbsp;</li><li>Bound in original faux wood-grain wrappers tied with knotted leather cord, hand-bound by artists.&nbsp;</li></ul> Business Cards, Ruscha explained in a later interview with Trina Mitchum, "started as a joke but then we decided to go through with it [...] We had a dinner at the Bistro in Beverly Hills and after dinner we had a very dramatic business card exchange which Larry Bell photographed with his Polaroid and good judgment. Later the book of photographs came out."

Business Cards

A signed first edition of Ruscha's last solo photobook to use the minimal "house style" made famous by Twentysix Gasoline Stations and other early works.<ul><li>Edward Ruscha (American).</li><li>Los Angeles: Edward Ruscha, 1970.</li><li>48 pages.</li><li>25 black and white photographic illustrations.</li><li>Part of an edition of 4,000 unnumbered copies.</li><li>Signed by Ruscha in pencil on front free endpaper.&nbsp;</li><li>Bound in original white printed wrappers.</li></ul> The 25 black and white photographs of Real Estate Opportunities frequently include "For Sale" signs, recalling Ruscha's early life as an aspiring commercial artist who "learned sign-painting techniques and painted many commercial signs, including For Sale signs" (Phillpot). Properties pictured, captioned with their addresses, include houses, residential lots and forlorn stretches of barren land whose only neighbors are the telephone poles and roads of southern California.

Real Estate Opportunities

Blinds &amp; Shutters is a limited-edition Genesis Publications book containing Michael Cooper’s superb photographs of The Beatles and The Rolling Stones.<ul><li>Michael Cooper (English).</li><li>Contains forewords by Mick Jagger and Keith Richards, and an introduction by Terry Southern.&nbsp;</li><li>Prepared in consultation with Bill Wyman.</li><li>United Kingdom: Genesis Publications / Hedley, 1990.</li><li>There are over 600 images in total.&nbsp;</li><li>This is No. 4, 333 of 5,000 limited-edition copies and has been hand-signed by Peter Blake, Jenny Boyd, Eric Clapton, Adam Cooper, Spencer Davis, Terry Doran, Jann Haworth, Allen Jones, Anita Pallenberg and Bill Wyman.</li><li>There are approximately 90 contributors including, among others, Eric Clapton, George Harrison, Paul McCartney, Ringo Starr, Neil Aspinall, Derek Taylor, Terry Doran, John Dunbar, Colin Self, Peter Blake, Jann Haworth, Jenny Boyd, Richard Hamilton, Robert Fraser, Marianne Faithfull, Klaus Voormann, Astrid Kirchherr, Anita Pallenburg, Ian Stewart, William Burroughs and Allen Ginsberg.</li><li>The book is fully bound in leather and buckram.</li></ul> Blinds &amp; Shutters provides a unique insider’s view of the sixties, a prolific and exhilarating period of artistic cross-fertilization. Through his association with Robert Fraser, The Stones and The Beatles, Michael met the artists, writers, poets and musicians of the time and the courtiers around them. He introduced these people to each other. Many of those who brilliantly lit up the decade on both sides of the Atlantic were photographed by Michael. His most well-known photographic assignment was the album cover for The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.

Blinds & Shutters

The deluxe Taschen publication Polaroid Diaries brings together highlights of Linda McCartney’s vast archive of candid instant pictures from the early seventies to the mid-nineties. <ul><li>Linda McCartney (American).</li><li>Los Angeles: Taschen America LLC, 2019.</li><li>The collection includes portraits, landscapes and interior compositions which affirm her bold eye for pattern, color and her elegant use of light. </li><li>This is No 365 of 500 limited edition collector’s copies, each hand signed by Paul McCartney.</li><li>The book is accompanied by a clear recycled glass acrylic slipcase.</li><li>This book comes in the original shipping box.</li></ul>

The Polaroid Diaries

A signed first edition copy of Ed Ruscha's artist book A Few Palm Trees.<ul><li>Ed Ruscha (American).</li><li>Printed by G.R. Huttner Lithography.</li><li>California: Heavy Industry Publications, 1971.</li><li>Includes photographs of thirteen palm trees, with the location of each palm tree printed on the page opposite each photo.</li><li>Followed by approximately thirty blank pages.</li><li>From an edition of 3,900 copies.</li><li>Photolithographic artist book on white 80lb Vicksburg Vellum text paper.</li></ul>

A Few Palm Trees

A signed, limited edition of Rego's intense and brutal suite of lithographs in dialogue with Brontë's Jane Eyre.<ul><li>Paula Rego (Portuguese-English).</li><li>Introduction by Marina Warner.</li><li>London: Enitharmon Editions, 2003.</li><li>Illustrated with frontispiece and 23 additional lithographs, including one foldout.&nbsp;</li><li>Regular edition of 275 copies, this copy numbered 0/5, apparently out of series.</li><li>Signed by Warner and Rego at colophon.</li><li>Bound in original pictorial boards with navy cloth spine.</li></ul> Rego's Jane Eyre series is narrower in emotional range than its source inspiration, but fully its equal in depth. Her lithographs thrash with the furious, tortured physicality of women weighed down by pain and humiliation and confinement, the element of fire nearly smothered in wet wool and cold earth. The Portuguese-born artist reported reading Jane Eyre for the first time as an adult, and no childhood nostalgia tempers her vision. Jane Eyre herself appears as she is, not as she seems: a massive presence, rather than the fey fairy elf of Rochester's pickup lines or the meek mouse of conventional illustration. "I don't believe in the existence of little mice," Rego affirmed to The Observer in 2002. "Every mouse has intestines and teeth and they are terrifying, those little mice. Jane Eyre is actually a bit of a rat."

Jane Eyre

A first edition, first printing of this valuable resource on Bacon, inscribed by the artist to the pioneering director of the Metropolitan Museum of Art, Thomas Hoving.<ul><li>David Sylvester (British).</li><li>Francis Bacon (Irish).</li><li>London:&nbsp;Thames and Hudson,&nbsp;1975.</li><li>128 pages.</li><li>94 illustrations in black &amp; white.</li><li>Inscribed by Bacon on the half-title.</li><li>Presented in the original stiff color pictorial wrappers.</li></ul> Hoving was director of the Met for only a decade, but his impact was enormous. Widely credited with modernizing the institution, he created the Met's contemporary art department, introduced the gift shop to the museum and mounted blockbuster exhibitions such as King Tut as well as a major 1975 Francis Bacon exhibition—at the time, his first major museum show in more than a decade and one in which Bacon arranged the exhibition per his own wishes. Hoving would later say of this exhibition: "[It was] stunning to watch what an artist does with his own works—totally different from what an exhibitor or a curator would've done." Hoving was an enormous champion of Bacon's work, once deaccessioning more than a dozen "routine Monets" in order to acquire one major work by the British painter. A tremendous association between these two hugely important art world figures who each exercised a significant influence on the other.

Interviews With Francis Bacon

A collection of books from the personal library of legendary singer and songwriter Amy Winehouse, spanning her school days through her rise to fame.<ul><li>Sold as a set of 227.</li><li>Several books include annotations by Winehouse.</li></ul> Featured selections:<ul><li>A photobook inscribed by Dave LaChapelle, who directed her music video, "Tears Dry on Their Own."</li><li>Winehouse's annotated copy of Little Shop of Horrors, in which she starred for a school production.</li><li>A copy of Allen Ginsberg's Howl!, containing fragments of handwritten song lyrics.</li><li>A complete inventory, prospectus, and additional images are available on request.&nbsp;</li><li>Includes a mix of hardcover and paperback bindings.</li></ul> Winehouse was a known reader; both she and her family commented on this aspect of her personality over the years in interviews. These, her own copies of her books, make it easy to recognize the teenager who loved Salinger, the nerd who acquired numerous graphic novels, the training vocalist reading multiple Frank Sinatra biographies and the touring musician just looking for a good read to pass the time on the road. Among the books are well-read favorites (like Jackie Collins) and gifts from friends. There are books from schools she attended (some with her annotations), books inscribed to her (including one from ex-husband Blake Fielder-Civil) and books about or by other musicians who struggled with addictions (Jimi Hendrix, Boy George, Alex James, Anthony Kiedis). Her beloved grandmother's email is penned on a bookmark, the guest list for a party is written on the last page of one book; in another, there is an ownership stamp of one of the hospitals where Winehouse was once admitted. The collection offers an intimate, tender and revealing look into the intersection of the public, private and creative lives of one of the most indelible musical artists of the early 21st century.

Collection of books from the personal library of Amy Winehouse

A first edition, presentation copy of Cor Jaring's book of photographs showing the various subcultures, protests and happenings in Amsterdam during the 1960s, which has been inscribed to James Baldwin.<ul><li>Kor Jaring (Dutch).</li><li>Huizen: nvTritonpers, 1969.</li><li>126 pages.</li><li>Quarto.</li><li>Inscribed: "For James Baldwin, with great respect / Cor, Paris 1969."</li><li>Includes black-and-white photographs printed in offset.</li><li>Text in Dutch, German, French and English.</li><li>Bound in photo-illustrated paper-covered boards, with publisher's printed orange wraparound band.</li></ul> In 1948, James Baldwin, aged 24, left New York and moved to Paris. In the spring of 1984, during an interview for The Paris Review, Baldwin was asked why he had chosen to live in France, to which he replied: "It wasn't so much a matter of choosing France—it was a matter of getting out of America." Disillusioned with the prejudices he faced, Baldwin feared that he would not have survived should he have stayed and certainly could not sufficiently isolate himself to focus on writing. In New York, the eldest of nine children, he worked several jobs to provide for his family. Baldwin spent nine years living in Paris, returning to the United States in 1957 as the civil rights movement gained momentum. He returned to France in 1970, first to Paris, then settling in Saint-Paul-de-Vence.

Amsterdam First Edition Presentation Copy Inscribed to James Baldwin

A first edition copy of Bistrots, signed by all three contributors, deluxe edition out of 200 copies.<ul><li>Robert Doisneau (French).</li><li>Jacques Prévert (French).</li><li>Robert Giraud French).</li><li>France: Souillac &amp; Mulhouse, Le Point, 1960.</li><li>48 pages.</li><li>Octavo.</li><li>With black-and-white photographs by Doisneau printed in gravure.</li><li>Number 23 of 200 copies on Velin d'Arches paper.</li><li>Signed by Robert Doisneau, Jacques Prévert and Robert Giraud on the colophon.</li><li>Bound in burgundy silk-covered boards, with spine and upper side stamped in gold, in publisher's acetate dust jacket.</li></ul> Deluxe issue of 200 copies, this copy printed for "Monsieur Love." The ordinary edition was published as number 57 of the quarterly artistic and literary journal Le Point, this issue focusing on French bistros. In praising the work of Robert Doisneau, whose evocative photographs “seem the perfect embodiment of Gallic wit and romance” (New York Times), MoMA curator John Szarkowski particularly singled out images Doisneau took for this 1960 edition of the French journal&nbsp;Le Point. In praising Doisneau’s photograph of “a potential seduction,” entitled “At the Café, Chez Fraysse, Rue de Seine, Paris, 1958” (9), Szarkowski writes that “one is tempted to believe that even the painters of the 18th century never did the subject so well” (Looking at Photographs, 172). The 44 vibrant heliogravures seen here in&nbsp;Bistrots&nbsp;display the “characteristic warmth and humanity” (Parr &amp; Badger I:201) that made Doisneau a leading figure of French humanist photography. Text in French; with a three-page facsimile of Jacques Prévert’s autograph manuscript for his poem “Gravures sur le Zinc,” Robert Giraud’s essay “Bistrots,” and photographic captions by Doisneau.

Bistrots

A first edition, signed presentation copy of Sentimental Journey by Japanese photographer Nobuyoshi Araki.<ul><li>Nobuyoshi Araki (Japanese).</li><li>Tokyo: Privately published, 1971.</li><li>108 pages.</li><li>Quarto.</li><li>Includes black-and-white photographs printed in offset.</li><li>Inscribed to Asahi Sonorama Chief Editor Tatsuo Shira with a drawing of a three-trunked elephant, which was Araki's preferred method of embellishment in the 1970s.</li><li>Wire-stitched with white photo-illustrated card wrappers, printed in black, with the printed leaf of green paper added by Araki shortly after publication at a bookshop's request.</li></ul> Sentimental Journey is Araki's signature work, comprising photographs made while on honeymoon with his wife Yoko in Yanagawa on Japan's Kyushu island. Araki's exposure of this most intimate of occasions attracted much criticism in a country which still valued a strict code of behavior, but ultimately, by putting his private life forward for public scrutiny, he paved the way for successive generations of Japanese photographers to work in a similar vein. Initially, Araki had intended for Sentimental Journey to contain no text. However, after publication and at the request of the bookshop Kinokuniya, he wrote a short introduction that rejects the falseness and insincerity of much photography and compares his work to the popular post-war literary form of the "I" novel. This text was printed on a green leaf of paper and laid into the book.

Senchimentaru Na Tabi / Sentimental Journey

A first edition, signed copy of Harry Callahan's Water's Edge.<ul><li>Harry Callahan (American).</li><li>With an introductory poem by A.R. Ammons.</li><li>Connecticut: Callaway Editions distributed by the Viking Press, 1980.</li><li>76 pages.</li><li>Folio.</li><li>With black-and-white photographs printed in duotone offset.</li><li>Includes original gelatin silver photograph (5 x 5 inches) mounted on rag paper, signed and numbered in pencil.</li><li>Number 30 of 50 signed copies in set II (of IV), each with a different gelatin silver photograph in an edition of 50 (200 copies in total with an additional 16 hors commerce).</li><li>With an afterword by Harry Callahan.</li><li>Bound in natural linen-covered boards, with cream endpapers, print laid in to the publisher's grey paper portfolio with title to front in blind, housed together in the publisher's quarter vellum over linen drop spine box with titles stamped in blind on spine.</li></ul> Callahan informally began his series of beach photographs in 1938 at Lake Hutton, where his wife's family had a cottage. But it wasn't until 1946, when he started teaching at the Chicago Institute of Design (The New Bauhaus), that he felt he had taken his first good pictures of the subject, taking photographs on the shore of Lake Michigan, just three blocks from his house. The series took shape when Callahan moved to New England to teach at Rhode Island School of Design, Providence, in 1961. In his afterword, he writes: "I think that nearly every artist continually wants to reach the edge of nothingness—the point where you can't go any farther. I feel I have come close to that at various times with the Beach Series photographs. A determined single-mindedness and an insistent inner need has led me to that point. That is why I have always kept going back, and that is what still keeps me going today—keeps me alive?"

Water's Edge First Edition with Signed Photograph

A first edition, signed copy of Christian Boltanski's artist book.<ul><li>Christian Boltanski (French).</li><li>Paris: Multiplicata, 1972.</li><li>24 pages, including covers.</li><li>Black-and-white photographs printed in offset throughout.</li><li>Part of an edition of 500 copies.</li><li>Signed on verso of the front wrapper.</li><li>Bound in white printed wire-stitched wrappers, printed in black.</li></ul> 10 Portraits Photographiques de Christian Boltanski contains a series of portraits purportedly showing the artist aged 2, 3, 5, 7, 9, 10, 11, 14, 17 and 20. Annette Messager took these photographs one afternoon in the Parc Montsouris in Paris when Boltanski enlisted strangers and friends' children to pose; Boltanski himself only features in the final portrait, but aged 28, not 20.

10 Portraits Photographiques de Christian Boltanski

A first edition, inscribed presentation copy of Miyako Ishiuchi's Yokosuka Story, signed by the artist.<ul><li>Miyako Ishiuchi (Japanese).</li><li>With text by Araki Nobuyoshi in Japanese, and by Ken Bloom and Ishiuchi Miyako in Japanese and English.</li><li>Tokyo: Shashin Tsushinsha, 1979.</li><li>Oblong quarto.</li><li>Includes black-and-white photographs printed in offset.</li><li>Inscribed on the half-title.</li><li>Bound in photo-illustrated wrappers.</li></ul>

Yokosuka Story

A first edition, presentation copy of Moholy-Nagy's photographs.<ul><li>Laszlo Moholy-Nagy (Hungarian).</li><li>Design by Jan Tschichold.</li><li>Berlin: Klinkhardt &amp; Biermann, 1930.</li><li>Octavo.</li><li>Inscribed: "für herr sandels mit / besten gruss[?] / Moholy-Nagy / 25/XI/37."</li><li>Includes black-and-white photographs printed in relief halftone by F. Bruckmann AG, Munich.</li><li>Text in German, English and French.</li><li>Bound in photo-illustrated wrappers printed in yellow and black.</li></ul> Moholy-Nagy was appointed director of The New Bauhaus: American School of Design in Chicago, with classes beginning in October 1937, on the recommendation of Walter Gropius, who had just accepted a position at Harvard. Moholy-Nagy had spent the previous two years in London and the year before that in Amsterdam after leaving Berlin in 1933.

60 Photos

A first edition, signed presentation copy of London, by British photographer and filmmaker Tony Armstrong-Jones.<ul><li>Antony [Tony] Armstrong-Jones (English).</li><li>Design by Mark Boxer.</li><li>London: Weidenfeld &amp; Nicholson, 1958.</li><li>142 pages.</li><li>Quarto.</li><li>Includes black-and-white photographs printed in relief halftone.</li><li>Inscribed to Hilary Gerrard, "To Hilary / With best wishes / from / Tony Armstrong-Jones – / Snowdon."</li><li>Bound with light blue cloth-covered boards, photo-illustrated endpapers,&nbsp;titles stamped to spine in gold, titles in blue and red.</li><li>Includes the second issue of dust jacket, produced at the photographer's request after he expressed dissatisfaction with the original.</li></ul>

London

A signed, first edition copy of Imogen!, with a signed original photograph "False Hellebore, 1926."<ul><li>Imogen Cunningham (American).</li><li>Seattle and London: University of Washington Press for the Henry Art Gallery, 1974.</li><li>110 pages.</li><li>With black-and-white photographs printed in offset.</li><li>Number 78 of 150 signed copies with a gelatin silver photograph.</li><li>Bound in original quarter black morocco over black cloth-covered boards, titles stamped to spine in silver, publisher's black cloth-covered board slipcase.</li></ul> Imogen Cunningham's first monograph, a comprehensive, chronological survey of her diverse career, was published to mark her ninety-first birthday and coincide with two exhibitions: Imogen! Imogen Cunningham Photographs 1910-1973 and Images of Imogen, 1903-1973, both at the Henry Art Gallery, University of Washington, Seattle. Imogen Cunningham's career in photography spanned 70 years. In 1910, she established a studio in Seattle before moving to San Francisco in 1917, where she met a circle of like-minded photographers and became a founding member of Group f/64, an informal group including Ansel Adams, Sonya Noskowiak and Edward Weston, who challenged the prevalent pictorialist aesthetic. Close to half of the members were women, making Group f/64 one of the first modern art movements equally run by women. "That it took almost seventy years for a monograph to be published on Cunningham's ground-breaking career is reflective of the uphill battle that began to be undertaken in the 1970s, when several early-20th-century female photographers finally began to be more permanently written into photographic history." (What They Saw: Historical Photobooks by Women)

Imogen! First Edition with Signed Photograph

A limited-edition copy of Song Of The Open Road, which has been signed by the illustrator.<ul><li>Walt Whitman (American).</li><li>Illustrated by Aaron Siskind.</li><li>New York:&nbsp;The Limited Editions Club,&nbsp;1990.</li><li>Includes six hand-pulled photogravure plates.</li><li>Part of a limited edition of 550 numbered copies signed by Siskind.</li><li>Bound in original black morocco and green linen boards, in cloth slipcase.</li></ul>

Song of the Open Road

A first-edition copy of Ansel Adams' photography book Sierra Nevada.<ul><li>Ansel Adams (American).</li><li>Sierra Nevada: The John Muir Trail.</li><li>Berkeley: The Archetype Press, 1938.</li><li>Includes 50 engravings and prints provided by The Lakeside Press, Chicago.</li><li>Part of a limited edition of 500 copies, of which this is numbered 241.</li><li>Signed and inscribed by Ansel Adams.</li><li>Bound in white cloth with black cover text.</li></ul>

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Edmund Dulac, Léonard Rosenthal

Robert Motherwell

Roy Lichtenstein

Roy Lichtenstein

Paul Strand

Linda McCartney

David Hockney

Joan Miró, René Char

Joan Miró

Man Ray

David Hockney

Henri Matisse, James Joyce

Paul Penrose

Marina Abramović

Arthur Rackham, Sir Thomas Malory

Kay Nielsen, Andersen, Hans Christian

Oliver Goldsmith, Hugh Thomson

Edward Ruscha, Billy Al Bengston

Edward Ruscha

Michael Cooper

TASCHEN, Linda McCartney

Ed Ruscha

Paula Rego

Francis Bacon, David Sylvester

Cor Jaring

Robert Doisneau, Prévert, Jacques, Robert Giraud

Nobuyoshi Araki

Harry Callahan

Christian Boltanski

Miyako Ishiuchi

László Moholy-Nagy

Antony Armstrong-Jones

Imogen Cunningham

Walt Whitman

Ansel Adams