Search Results: Art, Architecture & Design from James Cummins Bookseller

New York: [s.n.], 1969. First edition. [ii], 96 pp. mimeograph. 4to. Publisher's side-stapled paper wrappers, front wrapper intentionally crinkled and stamped ink ink with title. Small closed tears and chips to covers, internally near fine. First edition. [ii], 96 pp. mimeograph. 4to. The penultimate issue of "one of the most experimental of all the early mimeo magazines" (Clay & Phillips, A Secret Location on the Lower East Side, p. 207). This issue includes writings by Bernadette Mayer, Vito Acconci, Sol LeWitt, Jerome Rothenberg, Clark Coolidge and Adrian Piper, as well as "Fire Cracker," the first major time-based work of Rosemary Mayer (1943-2014), an attempt to document the sounds of firecrackers in Little Italy each minute between 9:00 PM and 1:30 AM on July 4th. The piece comprises fourteen pages of "x's" and lines, each "x" representing the discrete sound of a firework and the lines representing periods when individual fireworks were indiscernible. It was a conceptual experiment, but also a… Read More

London: Stipple Publications. Distributed by Sotheby's Publications, 1989. First edition. 12 color plates and 662black and white illustrations. xix, [i], 414 pp. 1 vols. Folio. First edition. 12 color plates and 662black and white illustrations. xix, [i], 414 pp. 1 vols. Folio. A Catalogue Raisonné of the engravings of the 18th Century British artist, George Stubbs (1724-1806) - amazingly accurate depictions of humans, horses, tigers and other animals - notes on the use of the catalogue - chronology - prints associated with Stubbs - the life of George Townly Stubbs with a checklist of his engravings - portraits of George Stubbs - addenda - bibliography - index.

n.p., 1950. Black and whites. 1 vols. 4to. Excellent condition. Black and whites. 1 vols. 4to. Reynaldo Luza (1893-1978), pre-eminent fashion artist, was born in Lima, Peru. He began training as an architect at the University of Louvain, Belgium, but returned to Peru at the outbreak of World War I, where he changed his studies from architecture to art. In 1918 he came to the United States, where he earned his living by contributing drawings to several fashion publications, principally VOGUE, HARPERS BAZAAR, and VANITY FAIR. In 1921 he joined HARPERS BAZAAR as the principal fashion artist, a position he was to hold for 27 years. He divided his time between New York, Paris and London, working closely with all of the leading fashion designers of the times--Poiret, Patou, Lelong, Paquin, Douillet, Doucet, Cheruit, Worth, Drecoll, Callot Soeurs, Redfern, Martial et Amand, Premet, Reboux, Chanel, Vionnet, Molyneaux, Schiaparelli, Hartnell, Steibel, and Balenciaga, among others. In 1940 Luza made New York… Read More

1870. 1 vols. In circular shape, 4" diameter. Fne. 1 vols. In circular shape, 4" diameter. Showing in relief a slender faun, nude except for an animal skin around his shoulders, his brow crowned with vine leaves, holding in his right hand a kylix, the whole of the composition modeled to fit the circular space; probably French, latter half of the 19th Century. In fine condition, mounted in a circular gilt plaster frame.

New York: Printed Matter, Inc, 2010. Signed, limited, edition, number 392/1000, signed on a card laid-into slipcase inside box. 6 "pages" with each "page" opening into a 3D object. 6 vols. 20 x 16 inches. Paper covered boards, most volumes with slight rubbing, one volume with sun-fading near cut-out in slipcase, overall very good; original cloth slipcase with some shelfwear. Signed, limited, edition, number 392/1000, signed on a card laid-into slipcase inside box. 6 "pages" with each "page" opening into a 3D object. 6 vols. 20 x 16 inches. Pop-Up Artists Book. This pop-up book features six die-cut paper sculptures that unfold into wonderful, elaborate forms: Pyramid, Sphere, Cubearc, Möbius, Gem, Ziggurat. While much of Auerbach's work has previously dealt with compositions staged in the flux state between 2D and 3D, [2,3] represents an expansion for the artist towards a more sculptural medium. Engineered by the artist, each "page" opens into a beautifully constructed object, intricately conceived… Read More

New York, 1886. Each one page. 1 vols. 4to (letter from Harry, on his Studio stationery); 8vo, 12mo. Tipped and mounted to larger sheet of stiff blue paper. Each one page. 1 vols. 4to (letter from Harry, on his Studio stationery); 8vo, 12mo. "There are so many of our family, all artists, in New York ... " A very interesting letter from Harry Beard regarding his distinguished family of artists and illustrators, in response to his election as honorary member of the Northwestern Literary & Historical Society: " ... There are so many of our family, all artists, in New York, some of whom devote their talents almost exclusively to Natural History Subjects. (James H. - my father an animal painter, James C. and Daniel C. my brothers, the former has illustrated several articles on natural history in the Harpers and Century Magazines, and the latter both writes and illustrates the same subjects) that I really hesitate in taking to myself the great honor you would confer for fear of appropriating what may… Read More

Chicago, 1842. 4to. Old folds. 4to. Chatty letters about Illinois politics, etc. "On July 7, 1897 Rev. P.S. Pratt welcomed Manchester's "many lovers of good books" who had gathered to celebrate the opening of Mark Skinner Library. The library was celebrated as a "new and elegant edifice" which would be "made accessible to all who are associated in the various relations of social and civil life." It was built by Frances Skinner Willing in memory of her father, Mark Skinner, a Chicago judge and philanthropist who was born in Manchester and returned to spend every summer here. Mark Skinner's father, Richard Skinner, had been a Vermont governor and chief justice. Mrs. Willing is noted by librarian and historian Paula Watson as one of the "Lady Carnegies" of the late 19th and early 20th centuries - women philanthropists who had "strong interests in reading and literature and personally empowering experiences with libraries." Watson writes that women's library philanthropy was extensive, but has gone… Read More

Remsenburg, Long Island, 1961. Together, 2 pp. Autograph postscript on one. 8vo. On personal stationery. Old folds, fine. Together, 2 pp. Autograph postscript on one. 8vo. On his novel The Olympians. Bolton writes to World Publishing editor William Targ about his recent novel [not named, but The Olympians, 1961] which World brought out. In the letter of February 2 he writes, in part: "The jacket is indeed charming, I have only one ciriticism: I don't think the 'Guy Bolton' should be in black.... I am delighted with the new regarding the paperback deal. My friends tell me New American Library are the top people in their line...." He adds an autograph postscript: "I feel so encouraged I'm planning another books!" In the letter of March 31 he writes, in part: "I hope sales will pick up, I suppose in the long run word of mouth is what counts. My anxiety about the reviews is mounting as April third approaches.... I had a chat the other day with ... a great buddy of the owner of Readers' Digest ... But… Read More

Norfolk, Connecticut: New Directions, 1945. First edition. One of 2949 copies. 20-7pp. 1 vols. 8vo. Original beige Cloth. Fine in slightly chipped dust jacket. First edition. One of 2949 copies. 20-7pp. 1 vols. 8vo. Crandell A.2.1.a

Chicago: Walter Hill, 1936. Each signed with initials of the Artist. Matted with the corresponding captioned illustrations. 1 vols. Various Sizes (13.5 x 11 inches to 3 x 7 inches) matted on 14.5 x 22 inch boards ). In worn and split cloth drop box, morocco label. Each signed with initials of the Artist. Matted with the corresponding captioned illustrations. 1 vols. Various Sizes (13.5 x 11 inches to 3 x 7 inches) matted on 14.5 x 22 inch boards ). Bitting, p. 13: "Fully annotated. The name was synonymous with gourmandise and, among the ancients, was given to choice dishes the name of the author was (probably) Coelius, who gave the name Apicius to his book"; Vicaire p. 277

Kew Richmond Surrey, 1955. Each on a single folded "Aerogramme" sheet, addressed by Cockerell on verso; one page each. 8vo. Very good. Each on a single folded "Aerogramme" sheet, addressed by Cockerell on verso; one page each. 8vo. Cockerell to Paul Standard. Charming letters from the aging museum director, collector, and calligrapher, to his American counterpart Paul Standard, founding member of the Typophiles and champion of calligraphy. In the first, Cockerell expresses his delight on receiving the news that he "will have the great pleasure of seeing you and Mrs. Standard here in June - by the same post came one from RUTH DRAPER saying exactly the same thing ... I shall be delighted to show you my Bembo ms and other fine specimens of Italian calligraphy." In the second, Cockerell touchingly apologizes for his tardiness in answering: "I am going through rather a tiresome phase of my malady (Old Age), which makes me lethargic and rather disinclined to answer letters ... Stella dear, I think of… Read More

1915. Initailled at bottom center. 1 vols. Fine. Initailled at bottom center. 1 vols. "Alfred M. Githens was born in Philadelphia and attended the Episcopal Academy before receiving his B.S. in Architecture from the University of Pennsylvania in 1896. He then attended the Pennsylvania Academy of the Fine Arts while working as a draftsman for Cope & Stewardson during the years 1896-1901. In 1900 he received the John Stewardson Scholarship for his design for "The Improvement of the Entrance to Fairmount Park," and in 1901 he journeyed to Europe to attend the American Academy at Rome and stayed on to attend the Ecole des Beaux-Arts in Paris. By 1903 he had returned to the United States and begun his non-Philadelphia career. He first worked for Lord & Hewlett, but in 1904 moved to Cass Gilbert, both in New York. In 1904 he and Charles C. Haight launched their own firm in that city and continued working together through 1916. From 1917 to 1932 Githens was a partner in the firm of Tilton & Githens (Edward… Read More

Minneaopilis: Minneapolis Times, 1896. Pena and ink on and board. 3 vols. Variouys sizes. Fine. Pena and ink on and board. 3 vols. Variouys sizes. R.C. Bowman (c.1870-c.1903) was a cartoon artist of the late nineteenth century who specialized in political cartoons and worked for the Minneapolis Tribune among other publications. His work, now sadly overlooked, was keenly observational and incisive, and did not spare American Presidents or other major figures of the time, including Uncle Sam and the emblems of the major political parties.

New York: NBC, 1973. 5 pages. 4to. Very Good. 5 pages. 4to.

New York: The Music Room [Keynote Recordings, Inc.], 1940. Three 10 inch 78 rpm records housed in card sleeves. Oblong 4to. Red suede cloth stamped in gilt on spine over illustrated front board. Spine separating, wear to extremities. Lacking booklet containing program notes and libretto. Discs fine. Three 10 inch 78 rpm records housed in card sleeves. Oblong 4to. INSCRIBED by Paul Robeson. Before it became a noted jazz label, Eric Bernay's Keynote Recordings released the left-wing folk of performers like the Almanac Singers and Pete Seeger. This album contains songs written by Ernst Busch (1900-1980), recorded in Barcelona in 1938 and accompanied by the choir and orchestra of the 11th Brigade. This copy is inscribed and signed on the front pastedown by Paul Robeson, who supplied the masters for this release: "These songs of the Spanish struggle Deeply reflect the spirit of Democracy. That spirit like Joe Hill 'never died,' This album is a 'must.'" Joe Hill, a rabble-rousing Wobblie executed for… Read More

Pontiac, Mich, 1888. Pencil on paper. 1 vols. 2-1/4 x 4-3/4 inches. With envelope postmarked February 9, 1888 addressed to Mrs P. B. Millen Manchester, Mich. Pencil on paper. 1 vols. 2-1/4 x 4-3/4 inches. Wheeler (1832-1894) was a Michigan-born portrait painter "whose best work was done in painting children's heads" - Mantle Fielding (1965).

Fine. With a copy of The New Yorker issuew they appear in.

New York: ACA Galleries, 1999. First edition of this collaboration between artist, Wendy Mark, and poet, Mark Strand, specially bound issue, limited to 20 copies, signed by Wendy Mark and Mark Strand, and with an original monoprint, signed and dated by Wendy Mark. Colophon states: "This catalogue was published on occasion of the exhibition WENDY MARK 89 CLOUDS at ACA Galleries, New York... November 6-27, 1999. Catalogue design The Grenfell Press, New York. Printing and binding by Stamperia Valdonega, Verona"]. Cream-colored paper-covered boards, publisher's printed paper spine label stamped in gilt,Both the book and monoprint are in fine condition. First edition of this collaboration between artist, Wendy Mark, and poet, Mark Strand, specially bound issue, limited to 20 copies, signed by Wendy Mark and Mark Strand, and with an original monoprint, signed and dated by Wendy Mark. Colophon states: "This catalogue was published on occasion of the exhibition WENDY MARK 89 CLOUDS at ACA Galleries, New… Read More

Stuttgart and London: Eaton House, 1977. One of 200 copies. Illustrated with 96 color postcards printed two-to-a-leaf. Large 8vo. Original cloth, pictorial dust-jacket, publisher's gray cloth slipcase. One of 200 copies. Illustrated with 96 color postcards printed two-to-a-leaf. Large 8vo. With an original drawing. Limited edition, one of 200 copies with an original "speedy drawing" titled "Selfportrait as Piccadilly-Eros," dated and signed by the artist with initials, loosely inserted as issued.

Ravenna, Ohio: The Republican Publishing Co, 1910. 131 pp. 1 vols. 8vo. Card wrappers with some soiling to cover, inside pages are bright and illustrated throughout; overall very good. 131 pp. 1 vols. 8vo. Early American iron toy mail-order catalogue. Adam Clark Williams of Chagrin Falls, Ohio founded his company in 1886 on the heels of his father's business, J. W. Williams Company, known for producing iron components used for wagons and cannon carriages during the Civil War. The production of toys began in 1893 after a fire prompted the company to move to Ravenna, Ohio. Williams was largely known for the design & production of cast iron cars & trucks, as well as irons and tools. Throughout the catalog the weight of the goods are listed in terms of their packaging, often by the dozen. Because shipping at the time was inexpensive, cast iron toys in the United States were made more than other types such as pressed steel, or tin which was widely used in European toys. Pages 90-118 show a variety of Toy Banks. Read More