World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2024, English
Hardcover (clothbound w. printed acetate jacket), 168 pages, 30.48 x 22.86 cm
Published by
D.A.P. / New York
DelMonico Books / US
$99.00 - Out of stock
Edited with text by Catherine Craft. Foreword by Jeremy Strick. Text by Julie Mehretu, Kate Nesin, Paulina Pobocha.
New sculptures and installations that critically examine the formal, social and linguistic roles of live models
Over the past three decades, Iranian-born, German-based artist Nairy Baghramian (born 1971) has created sculptures and installations that upend expected modes of presentation and challenge the architectural, social, political and historical contexts that inform them.
The new works featured in this publication explore the provisional body as the site of trauma—drawing inspiration from the tradition of the “modèle vivant,” the French term for a live model in an art class. In her "ambivalently abstract" works, the artist takes unconventional approaches to materials associated with sculptural traditions of casting, including aluminum, lead, steel and wax. In conversation with sculptures from the Nasher’s permanent collection by Louise Bourgeois, Henri Matisse, Pablo Picasso and others, Baghramian’s works offer new ways to think about representations of bodies and the unseen labor of models, as well as the linguistic play afforded by different meanings of the word “model” and its linguistic relatives, such as “modulate” and “modify.”
2012, English
Hardcvoer (clothbound), 72 pages, 27 x 21 cm
Published by
M.33 / Melbourne
$55.00 - In stock -
Leading Australian photo-artist Jane Burton's Other Stories captures her arcane sense of mood and atmosphere to stunning effect. Other Stories is a collection of photographs that are intended to be experienced as a series of loose associations rather than determined narratives. Structured with five chapters like a fairy-tale collection, each series is toned in a different colour – reminiscent of old photographic processes and hand-colouring techniques. The atmosphere common to all the stories is cinematic and dreamlike. Saturated with colour (peach-sepia, red, viridian green, lavender, and blue), each has its own emotional pitch and temperature; the ‘story’ is non-linear, non-literal, falling instead between remembrance, hallucination, and fantasy.
Whether depicting a figure, landscape, interior, or object, the photographs are imbued with a weight of meaning and emotional intensity. The landscapes are rendered as symbolic and psychological – places imagined, felt, remembered, rather than actual or specific. The female figure depicted, a character that moves through the stories, an animating presence, more ghost than definitive persona.
Text by Ingrid Perez.
2023, English
Softcover, 184 pages, 29.5 x 22 cm
Published by
Perimeter Editions / Melbourne
MUMA / Victoria
UNSW Press / Sydney
$55.00 - In stock -
Many species, besides us humans, have developed a notion of love; that absolute beast of biology – love – has filled our brains with delight and sorrow and it has become our most inspirational addition to the line of consciousness. Love is so diverse, complex and complicated to us that it functions more like the air in the array of a storm than a simplistic cause-and-effect response. – Paul Knight
Paul Knight: L’ombre de ton ombre is the first monograph dedicated to Australian-born and Berlin-based artist Paul Knight, co-published by Monash University Museum of Art | MUMA, Melbourne, UNSW Galleries, Sydney, and Perimeter Editions. The publication accompanies his first survey exhibition, co-commissioned by MUMA and UNSW Galleries.
For more than two decades, Knight has taken intimacy as his subject, considering its relationship to representation and the social designs that underpin its expression. This has led him, via an interest in science, to the potential role that intimacy plays in consciousness as an evolutionary line. Knight’s ongoing photographic project, Chamber Music, records the life he shares with his partner Peter. Since their meeting in 2009, the series has accumulated hundreds of glimpses into the domestic space of their relationship, with its images created through varying degrees of pre-meditation and chance; often the camera timer is set so that it simply captures what it sees. The photographs test the ability of this machine – the camera – and the prints it produces to capture and contain intimacy. The images hold human love, which Knight proposes might be our only positive legacy in a future in which machine intelligence carries on, bearing the mark of its creators, beyond humanity itself.
Paul Knight: L’ombre de ton ombre features an extensive selection of photographs from Chamber Music and details the algorithmic working methods of the textile and machine learning works that Knight has developed for the exhibition. It brings artistic and scientific perspectives into conversation with his evolving practice, inviting contributions from: Professor of Contemporary Art History at the Ruskin School of Art, University of Oxford, Anthony Gardner, who situates Knight’s practice within histories of contemporary art and of queer visibility; theoretical astrophysicist and Hawking Chair in Cosmology and Science Communication at the Perimeter Institute for Theoretical Physics, Ontario, Dr Katie Mack, who responds with a poetic evocation of the cosmic timescales that underpin Knight’s thinking; and philosopher Oxana Timofeeva, who reflects on machine learning in the context of human consciousness. The publication will be launched at the exhibition opening at MUMA on 7 October 2023.
MUMA (Melbourne) x UNSW Galleries (Sydney) x Perimeter Editions (Melbourne).
2023, English
Softcover, 136 pages, 10.8 x 17.6 cm
Published by
Common Room / Naarm
$25.00 - Out of stock
The first in a co-published series with Melbourne School for Discontent, the three longform essays in this book examine various under-known histories of so-called Australia from Aboriginal perspectives, drawing from colonial archives, extensive study and lived experience to examine the ongoing legacy of colonial policy and legislation, from the early 1800s through to Native Title and into the twenty-first century.
2023, English
Softcover, 76 pages, 10.8 x 17.6 cm
Published by
Common Room / Naarm
$18.00 - Out of stock
In this reader, the first in a series, four sex workers in so-called 'Australia' explore topics pertinent to sex work through a series of essays. Grounded in personal experience, the essays are meditations on shifting power dynamics, intersecting identities such as race and sexuality, and draw upon history and sex worker rights activism.
Texts by Pris Iles, Tilly Lawless, Sariah Saibu and Ainslie Templeton.
2023, English
Softcover, 72 pages, 10.8 x 17.6 cm
Published by
Common Room / Naarm
$18.00 - Out of stock
The essays in this reader chart archipelagos of related beings and stories places: ceremonial-political structures, display territories, languages, materials and experiences of sensuality that constitute international Indigenous art and thought today. These texts situate reflections and propose avenues for Indigenous renaissances spanning the Great Ocean basin and its shores.
Introduction by Cara Kirkwood.
2002, English
Softcover, 144 pages, 22.9 x 11.5 cm
Published by
Semiotext(e) / Los Angeles
$30.00 - In stock -
May '68 in France expressed a fundamental version of freedom: not freedom to succeed, but freedom to revolt. Political revolutions ultimately betray revolt because they cease to question themselves. Revolt, as I understand it—psychic revolt, analytic revolt, artistic revolt--refers to a permanent state of questioning, of transformations, an endless probing of appearances. In this book, Julia Kristeva extends the definition of revolt beyond politics per se. Kristeva sees revolt as a state of permanent questioning and transformation, of change that characterizes psychic life and, in the best cases, art. For her, revolt is not simply about rejection and destruction—it is a necessary process of renewal and regeneration.
Julia Kristeva is a professor of linguistics at the Université de Paris VII. She is the author of many highly respected books and a practicing psychoanalyst.
1974, English
Softcover, 216 pages, 21 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$30.00 - In stock -
Environments and Happenings by painter and poet Adrian Henri, published by Thames & Hudson in 1974, forms one of the first mainstream book surveys to trace the phenomenon of environmental/performative/total living artworks that became prevalent in the 1960s/70s. This historical study is profusely illustrated in colour and b/w with many international works from Fluxus to Zero to Dolle Mina to Nouveau Réalisme to Provo to Gutai to The Situationists and much more. Includes the works of Joseph Beuys, Clarence Schmidt, Ray Johnson, Öyvind Fahlström, Paul Thek, Yves Klein, Allan Kaprow, Hans Haacke, Kurt Schwitters, Marcel Duchamp, Guerllia Art Action Group, Daniel Spoerri, Wolf Vostell, Gustav Metzger, Peter Kuttner, Jackson Pollock, Alison Knowles, Dick Higgins, Robert Morris, Situationist International, Ferdinand Kriwet, Klaus Rinke, Duane Hanson, A-Yo, Meret Oppenheim, Space Structure Workshop, Ferdinand Cheval, Dolle Mina (Mad Mina), Robert Smithson, Jeff Nuttall, Stefan Wewerka, Christo, Dennis Oppenheim, Vladimir Tatlin, Provo, Barry Flanagan, Andy Warhol, Meredith Monk, Atsuko Tanaka, Kazuo Shiraga, Ed Keinholz, Yayoi Kusama, Piero Gilardi, Niki de Saint-Phalle, Jean Tinguely, Claes Oldenburg, Les Levine, James Rosenquist, Red Grooms, Tom Wesselmann, George Segal, Eduardo Paolozzi, and many many more. Includes reproductions of performance scripts, partial chronology, etc.
Very Good copy, previous owner name to front endpaper.
1985, English
Softcover, 158 pages, 20 x 14 cm
1st Edition, Out of print title / used / very good
Published by
City Lights Books / San Francisco
$200.00 - In stock -
Very rare first 1985 City Lights English edition of Leonora Carrington's classic "The Hearing Trumpet". Leonora Carrington (1917 – 2011), painter, playwright, and novelist, was a surrealist trickster par excellence, and The Hearing Trumpet is the witty, celebratory key to her anarchic and allusive body of work. The audacious heroine of this enchanting book is ninety-two-year old Marian Leatherby, consigned by her family to an old ladies' home which is haunted by poisonings and occult goings-on. After an unexplained murder, Marian takes destiny in hand, pursuing the secrets of the Leering Abbess and the Holy Grail with her new friends and fellow-inmates. In a series of comic and subversive adventures, they summon the old gods and goddesses to provoke a most desirable cosmic upheaval.
"Reading The Hearing Trumpet liberates us from the miserable reality of our days."—Luis Buñuel, Spanish-Mexican filmmaker.
"A truly great book ... It's delicious, mocking, ideal."—(French) Playboy
"A strange and wonderful novel ... this book is a masterpiece of surrealistic fantasy, combining rich symbolic suggestion with a gripping narrative."—Library Journal
Very Good copy, light cover edge/corner wear. Spine uncreased.
1997, English
Softcover, 240 pages, 19 x 12.5 cm
Published by
Scribner Books / London
$36.00 - In stock -
To serial slayer Andrew Compton, murder is an art, "the most intimate art." After feigning his own death to escape from prison, Compton makes his way to the United States with the sole ambition of bringing his "art" to new heights. Tortured by his own perverse desires, and drawn to possess and destroy young boys, Compton inadvertently joins forces with Jay Byrne, a dissolute playboy who has pushed his "art" to limits even Compton hadn't previously imagined. Together, Compton and Byrne set their sights on an exquisite young Vietnamese-American runaway, Tran, whom they deem to be the perfect victim.
Swiftly moving from the grimy streets of London's Piccadilly Circus to the decadence of the New Orleans French Quarter, and punctuated by rants from radio talk show host Lush Rimbaud, a.k.a. Luke Ransom, Tran's ex-lover, who is dying of AIDS and who intends to wreak ultimate havoc before leaving this world, Exquisite Corpse unfolds into a labyrinth of murder and love. Ultimately all four characters converge on a singular bloody night after which their lives will be irrevocably changed -- or terminated.
Poppy Z. Brite dissects the landscape of torture and invites us into the mind of a killer. "Exquisite Corpse" confirms Brite as a writer who defies categorization. It is a novel for those who dare trespass where the sacred and profane become one.
Dennis Cooper "Author of "Frisk, Wrong, " and "Try" Poppy Z. Brite's "Exquisite Corpse" has an intelligence, sweep, nerve, knowledge, and deeply unsettling erotic power that make most other so-called transgressive novels "du jour" seem like romance novels in a grouchy mood.
Peter Straub "Author of "The Hellfire Club" As perfectly named as its author, "Exquisite Corpse" treats the dead human body like a communion wafer. It is Poppy Z. Brite's distinction to have understood immediately that real horror (unlike the make-believe variety which lumbers brainlessly through so many books) has an intimate connection to the most profound emotions, those evoked by an experience of the sacred. She is the only writer I know who could write a guidebook to Hell that would make me want to go there.
2023, English
Hardcover (w. dust jacket), 424 pages, 23.5 x 16.3 cm
Published by
The MIT Press / Massachusetts
$58.00 - In stock -
J. G. Ballard's collected nonfiction from 1962 to 2007, mapping the cultural obsessions, experiences, and insights of one of the most original minds of his generation.
J. G. Ballard was a colossal figure in English literature and an imaginative force of the twentieth century. Alongside seminal novels—from the notorious Crash (1973) to the semi-autobiographical Empire of the Sun (1984)—Ballard was a sought-after reviewer and commentator, publishing journalism, memoir, and cultural criticism in a variety of forms. This volume collects the most significant short nonfiction of Ballard's fifty-year career, extending the range of the only previous collection of his nonfiction, A User's Guide to the Millennium (1996), which selected essays and reviews published between 1962 and 1995.
A decade on from Ballard's death in 2009, a new generation of readers needs a new collection. In the period following A User's Guide, Ballard's writing addressed 9/11, British politics from New Labour onward, and what he termed “the rise of soft fascism”—a diagnosis that maintains its relevance amid a shift toward right populism in European and US politics. Beautifully edited by Ballard scholar and novelist Mark Blacklock, this volume includes Ballard's editorials and manifestos; commentaries on his own work; commentaries on the work of others; reviews; and more. Above all, it makes the case for the currency of Ballard's work at a contemporary juncture at which so many of his diagnoses concerning the media and politics have become apparent.
1987, English
Softcover, 118 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$90.00 - Out of stock
Rare 1987 Atlas Press edition of Raymond Queneau's The Skin of Dreams. This excellent translation by H.J. Kaplan was done in collaboration with the author in 1948.
Jacques l'Aumone, the hero of 'The Skin of Dreams', en-counters within its pages — the horrors of existential ontalgia (a form of asthma but more 'posh'), the delights of lice breeding, low life and states of grace on the outskirts of Paris, and pugilism in malodorous South American ports. Later, ho incarnates the illusions of his former compatriots on the silver screen, the 'skin' of the title. Behind the slang and comedy lies a richness of meaning which, as usual, makes Queneou's novel impossible to summarise.
Raymond Qucneau, best known as the author of "Zazie in the Metro" was a man of many parts. One-time Surrealist, mathematician, encyclopaedist, philosopher—his collection of Kojeve's lectures on Hegel is now recognised as the foundation of modern French philosophy. Ho wrote 15 novels, poems, speculations, was a member of the College of Pataphysics and founder of the OuliPo. Most of his pre-occupations find their way into his novels, but always under the guise of HUMOUR.
Very Good copy.
2024, English
Softcover, 208 pages, 20.32 x 13.18 cm
Published by
The New York Review of Books / New York
$36.00 - In stock -
In this delightful, cinema-inspired daydream of a novel, an identity-shifting protagonist uses the everyday inspirations of his life to catapult himself into the realm of imagination, blurring the boundaries between reality and fantasy.
The Skin of Dreams is a novel of waking dreams. Even as he lives his life, Jacques L'Aum ne, its hero, daydreams a hundred other possible lives. A few lines on a page, a chance encounter, a remark overheard in passing, any of these are enough to kick things into gear and send him off outside of himself to become a boxer, a general, a bishop, or a lord. He lives alongside his life with diligence and steadfastness; and the passage from real to dream is so natural for him that he no longer knows precisely which him he is. Eventually he becomes an actor in Hollywood, and the basis of countless dreams for others. This Jacques L'Aum ne, like the characters who surround him, has the same sort of haunting and fluid consistency as someone that we might dream of in our beds at night. And reverie, here, is born through the tale's humor, which is as gentle as it is cruel, as well as by way of a writing technique that is itself drawn from one of Queneau's great loves, the cinema.
Raymond Queneau (1903—1976) was a French novelist, poet, critic, editor and co-founder and president of Oulipo, notable for his wit and cynical humour. Born in the French town of Le Havre and educated at the Sorbonne, he then performed his military service in Morocco. An early association with the Surrealists ended in 1929, and after completing a scholarly study of literary madmen of the nineteenth century for which he was unable to find a publisher, Queneau turned to fiction, writing his first novel, Le Chiendent (Witch Grass), in Greece in the summer of 1932. Influenced by James Joyce and Lewis Carroll, Queneau sought to reinvigorate French literature, grown feeble through formalism, with a strong dose of language as really spoken. He further encouraged innovation by founding, with the mathematician François Le Lionnais, the famous group OULIPO (Ouvroir de Littérature Potentielle), which investigated literary composition based on the application of strict formal or mathematical procedures (members of the group included Italo Calvino, Georges Perec, and Harry Mathews). Queneau’s many books, which typically blur the boundaries between fiction, poetry, and the essay, include Pierrot mon ami, The Sunday of Life, Zazie in the Metro (made into a movie by Louis Malle), and Exercises in Style; under the name of Sally Mara, he published We Always Treat Women Too Well, a brilliant comic spoof on the excesses of smutty popular novels. Queneau was the editor of the Encyclopédie de la Pléiade as well as a fine poet, whose lyric “Si tu t’imagines” was a hit for the celebrated postwar chanteuse Juliette Gréco.
2015, English
Softcover, 302 pages, 12.7 x 20.32 cm
Published by
Nine-Banded Books / West Virginia
$34.00 - Out of stock
A man checks into a hotel in a Mediterranean city on the banks of the Turia. He is far from home. He holds few possessions. Enough clothing for a week, money for drink. A few essential paperbacks, a cigar box of old photographs. He intends to commit suicide. But somewhere along the way he gets lost in the churn of memory.
Valencia is an elegiac and hallucinatory meditation on beauty, loss, and how memory is deceitful, even when photographs are involved.
The things we carry come from an infinite sadness. That sadness is the death of childhood.
Did you ever stumble across a writer who seems to have lived your life and inhabited your dreams, your darkest moods? This happened to me, and I hope it will happen to you as you read through the mesmerizing pages of James Nulick’s Valencia… Nulick has inherited, from Zola, from Celine, from Burroughs maybe, something of the sweetness that lingers when everything extant has died of rot. His book will live forever in the literature of truth and waste.—Kevin Killian, author of Spreadeagle
The prose of Valencia is delicately simple yet densely poetic. Its voice is haunting. I couldn’t help being reminded by every line I read in James Nulick’s novel of Garcia Lorca’s famous “Lament for Ignacio Sanchez Mejias” and its chilling refrain: At five o’clock in the afternoon.—Thomas Ligotti, author of The Conspiracy against the Human Race
1985, German
Hardcover, 84 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Oberösterreichisches Landesmuseum / Austria
$85.00 - In stock -
Wonderful hardcover catalogue on the great Austrian draftsman, illustrator and author Alfred Kubin (1877–1959), by the Oberösterreichisches Landesmuseum in Austria in 1985. Aptly titled and translated to "Life, An Abyss", the book is profusely illustrated throughout with the works of Kubin, accompanied by an introduction by Klaus Albrecht Schröder, biography with photographic portraits, and an exhibition catalogue.
The work of Bohemian printmaker, illustrator and occasional writer Alfred Kubin (1877–1959) appears more current today than ever before: for it was violence, wartime destruction, pandemics, natural disasters, the manipulation of the masses and other abysses of human existence that pervaded his highly narrational works. Kubin became an important figure of both the Symbolist and Expressionist movements. The oeuvre of this fantastical creator confronts us with pessimistic visions which – to quote Schopenhauer – delineate “the worst of all possible worlds”. Kubin’s nightmarish oeuvre extends Symbolism and the fantastical art of the 19th century and may be considered a precursor to French Surrealism, with its syntheses of actual and imaginary reality, its bleak realms that Kubin often seasoned with humor, irony and exaggeration. Well known for illustrating the German editions of books by Edgar Allan Poe and Fyodor Dostoevsky, amongst others, during rise of Nazism in Germany his work was considered degenerate; he retreated into solitude and lived in a castle in Zwickledt, Upper Austria. He was awarded the City of Vienna Prize for Visual Arts in 1950, and died at his home on August 20, 1959.
Very Good copy.
2015, English
Softcover, 249 pages, 15 x 22 cm
Published by
Dedalus / Cambs
$34.00 - Out of stock
The Other Side, Alfred Kubin's only work of fiction, tells of a dream kingdom which becomes a nightmare, of a journey to Pearl, a mysterious city created deep in Asia, which is also a journey to the depths of the subconcious, or as Kubin himself called it, 'a sort of Baedeker for those lands which are half known to us'.
Written in 1908, and more or less half way between Meyrink and Kafka, it was greeted with wild enthusiasm by the artists and writers of the Expressionist generation. Franz Marc called it 'a magnificent reckoning with the 19th century' and Kandinsky said it was 'almost a vision of evil', while Lyonel Feininger wrote to Kubin : 'I live much in Pearl, you must have written it and drawn it for me'.
The Other Side will appeal to fans of Mervyn Peake and readers who like the darkly decadent, the fantastic and the grotesque in their reading.
Alfred Kubin (1877-1959) was one of the major graphic artists of the 20th century who was widely known for his illustrations of writers of the fantastic such as Balzac, E.T.A. Hoffmann, Gustav Meyrink and Edgar Allan Poe, of whom he illustrated at least 50 books. In his combination of the darkly decadent, the fantastic and the grotesque, in his evocations of dream and nightmare, his creation of an atmosphere of mystery and fear he resembles Mervyn Peake. The Other Side (1908) is his only work of fiction.
Translated by Mike Mitchell
2022, English
Hardcover, 288 pages, 23.5 x 28 cm
1st Edition, Out of print title / as new
Published by
Walther König / Köln
$105.00 - Out of stock
The first overview in a decade on Kubin’s gothic pageant of dreamworld menace. The quickly out-of-print English edition.
The art of the great Austrian draftsman, illustrator and author Alfred Kubin (1877–1959) appears more current today than ever before: for it was violence, wartime destruction, pandemics, natural disasters, the manipulation of the masses and other abysses of human existence that pervaded his highly narrational works. The oeuvre of this fantastical creator confronts us with pessimistic visions which – to quote Schopenhauer – delineate “the worst of all possible worlds”. Kubin’s nightmarish oeuvre extends Symbolism and the fantastical art of the 19th century and may be considered a precursor to French Surrealism, with its syntheses of actual and imaginary reality, its bleak realms that Kubin often seasoned with humor, irony and exaggeration.
Published for an exhibition at the Leopold Museum in Vienna, Alfred Kubin: Confessions of a Tortured Soul offers an exploration of Kubin’s oneiric worlds in terms of their relation to the unconscious. Through this lens, psychoanalyst and psychiatrist August Ruhs addresses pieces by Kubin selected by curator Hans-Peter Wipplinger. In addition, Kubin’s works are placed into a dialogue with works by artists of the 19th century and of the classical modernism from which Kubin derived inspiration. Artists such as Francisco de Goya, Félicien Rops, James Ensor, Max Klinger, Odilon Redon, Gustav Klimt and Edvard Munch shaped Kubin’s vocabulary of motifs and formal aesthetics, as did authors such as ETA Hoffmann, Edgar Allan Poe, Gérard de Nerval, August Strindberg and Gustav Meyrink his literary sources of inspiration.
2023, English
Softcover, 592 pages, 21.6 x 28 cm
Published by
Printed Matter Inc. / New York
$95.00 - In stock -
Dear Jean Pierre collects David Wojnarowicz’s transatlantic correspondence to his Parisian lover Jean Pierre Delage between 1979 and 1982. Capturing a truly foundational moment for Wojnarowicz’s artistic and literary practice, these letters not only reveal his captivating personality – and its concomitant tenderness, compassion, and neuroses – but also index the development of the visual language that would go on to define him as one of the preeminent artists of his generation.
Through this collection, readers are introduced to Wojnarowicz’s Rimbaud series, the band 3 Teens Kill 4, the publication of his first photographs, his early friendship with Peter Hujar, his participation in the then-emerging East Village art and music scenes, and the preparations for the publication of his first book. Included with these writings are postcards, drawings, xeroxes, photographs, collages, flyers, ephemera, and contact sheets that showcase some of the artist’s iconic images and work, such as the Burning House motif and Untitled (Genet, after Brassai).
Beyond these milestones, the book offers a striking portrayal of Wojnarowicz as a twenty-something, detailing his day-to-day life with the type of unbridled earnestness that comes with that age and the softness of love and longing. This disarming tenderness provides a picture of a young man just beginning to find his voice in the world and the love he has found in it.
Although the two exchanged letters in equal measure, Delage’s correspondences have largely been lost, leaving us with only a revelatory glimpse into the internal world of Wojnarowicz during what turned out to be his formative years.
1984, Japanese / French / English
Softcover (w. exhibition ticket), 80 pages, 31 x 29 cm
1st Edition, Out of print title / used / very good
Published by
PPS Telecommunications Company / Tokyo
$180.00 - Out of stock
Beautiful out-of-print over-sized Japanese Sarah Moon exhibition catalogue published in 1984 by Pacific Press Service, at the Photographic Society of Japan for an exhibition at Printemps Ginza in Tokyo. Profusely illustrated throughout in colour with the French photographer's works for fashion, editorial and advertising, as well her personal works, including her iconic work for Comme des Garçons, Cacharel, Vogue, Nova, Harper's Bazaar, Olympus and more. Includes texts by French critic Alain Jouffroy and Robert L. Kirschenbaum, and texts and interviews with the photographer herself, as well as an index of images, biography, and portraits of Moon.
This copy includes illustrated exhibition ticket stub, laid in.
Sarah Moon is a photographer born in 1941 in Vichy, France. Her Jewish family was forced to leave occupied France for England. As a teenager she studied drawing before working as a model in London and Paris (1960–1966) under the name Marielle Hadengue. She also became interested in photography, taking shots of her model colleagues. In 1970, she finally decided to spend all her time on photography rather than modelling, adopting Sarah Moon as her new name. In 1972, she shot the Pirelli calendar, the first woman to do so. After working for a long time with Cacharel, her reputation grew and she also received commissions from Chanel, Dior, Comme des Garçons and Vogue. In 1985, Moon moved into gallery and film work.
Very Good copy. Foxing stain to inside of front cover only.
1983, Japanese / English
Softcover (w. original plastic cover and obi band), 138 pages, 22 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Asahi Shimbun / Japan
$180.00 - Out of stock
Rare first edition of this compelling early 1980's photo book of violence and disaffection in American cities from Japanese photographer Shigemoto Nobi, printed by Asahi Shimbun in 1983.
Images of social unrest, gang warfare, prostitution, police precinct lockups, murder... the "poverty of the heart" real people must face behind the facade of America's boasted wealth of economic growth, something Japanese photographer Shigemoto Nobi (b. 1943) first encountered when he went to New York in his twenties to work as a freelance commercial photographer. Despite the implications of the title, Shigemoto Nobi visited and documented not only New York, but also Detroit, Chicago, Hawaii, the US/Mexican border and the Fort Apache Indian reservation, taking images primarily at night. Intense, lurid reportage on life in the United States of America in rich, saturated colour Kodochrome. File alongside Kiyotaka Tsurisaki, Seiji Kurata, or Bruce Davidson's "Subway".
First printing in original protective plastic sleeve with original obi band. Texts in Japanese and English.
Very Good copy with usual light damage/shrinkage to aged original plastic dust jacket cover/obi. Light edge wear.
1981, Japanese
Softcover (w. dust jacket), unpaginated, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shinko Music Publishing / Tokyo
$120.00 - Out of stock
Rare original Japanese edition of the cult cat classic photo book and 1980's phenomenon, Namennayo Cats, published in 1981 by Shinko Music Publishing. The illustrated photo album of the delinquent Namennayo Cats in their youth, dressed up in leathers, smoking cigarettes, hanging at the catnip coffee shop and the pinball arcade, graffitiing the school, playing in a rock band, as members in bōsōzoku biker gangs, all photographed by Satoro Tsuda and styled by a host of collaborators, set in elaborate miniature scenes with kitten scale props and ever-changing costumes. Tsuda fell in love with cats when he took four abandoned kittens into his care in 1979. "One day, almost two months since they met, Tsuda noticed the kittens playing with costumes for dolls left behind by his girlfriend." The rest is history. Practically overnight the "obliged" Namennayo Cats became mega idols in Japan, and this book an international treasure of Cat Photo humour.
Very Good copy of the original Japanese edition in dust jacket with light wear, preserved under mylar wrap..
1981, English
Softcover, unpaginated, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shinko Music Publishing / Tokyo
Jonathan Music / Sydney
$160.00 - In stock -
Super rare English edition of the cult cat classic photo book and 1980's phenomenon, Namennayo Cats, published in 1981 by Shinko Music Publishing, Tokyo, and this very rare English translation by Jonathan Music, North Sydney. The illustrated photo album of the delinquent Namennayo Cats in their youth, dressed up in leathers, smoking cigarettes, hanging at the catnip coffee shop and the pinball arcade, graffitiing the school, playing in a rock band, as members in bōsōzoku biker gangs, all photographed by Satoro Tsuda and styled by a host of collaborators, set in elaborate miniature scenes with kitten scale props and ever-changing costumes. Tsuda fell in love with cats when he took four abandoned kittens into his care in 1979. "One day, almost two months since they met, Tsuda noticed the kittens playing with costumes for dolls left behind by his girlfriend." The rest is history. Practically overnight the "obliged" Namennayo Cats became mega idols in Japan, and this book an international treasure of Cat Photo humour.
Very Good copy of the especially collectible English edition, with only light cover wear/tanning.
1988, Japanese
Softcover (staple-bound), 28 pages, 29.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
ABKCO / Japan
$190.00 - In stock -
Very rare Japanese brochure from around 1988, promoting the release on VHS (we think!) of The Holy Mountain, the cult classic 1973 Mexican surreal film directed, written, produced, co-scored, co-edited by and starring Alejandro Jodorowsky, who also designed sets and costumes, inspired in part by René Daumal's Mount Analogue. The scandal of the 1973 Cannes Film Festival, Alejandro Jodorowsky's flood of sacrilegious imagery and existential symbolism is a surreal sojourn for enlightenment pitting illusion against truth. In a corrupt, greed-fueled world, a powerful alchemist leads a messianic character and seven materialistic figures representing the negative aspects of the seven planets, to the Holy Mountain, where they hope to achieve enlightenment. Following Jodorowsky's underground hit El Topo, acclaimed by both John Lennon and George Harrison, the film was produced by the Beatles manager Allen Klein and John Lennon and Yoko Ono put up production money. It was shown at various international film festivals in 1973, including Cannes, and limited screenings in New York and San Francisco, gaining cult status. The Holy Mountain is a mythical, mystical masterpiece, a Hieronymus Bosch painting come to life - part spiritual quest, part science fiction, part social satire, and completely without comparison.
This rare collectible brochure published by Allen Klein's ABKCO gives synopsis and introduction to the film, illustrated throughout with glorious stills, including a four-panel colour fold-out, Japanese texts, cast and production information, even Holy Mountain manga! A wonderful piece of printed history to Jodorowsky's masterpiece.
Very Good copy with some handling pinches.
1978, English
Softcover, 260 pages, 25 x 17.5 cm
1st Edition, Out of print title / used / very good
Published by
Phaidon / London
$30.00 - In stock -
First 1978 softcover edition of The Dawn of Italian Painting 1250—1400 by Alastair Smart.
"The history of early Italian painting from about 1250 to 1400 constitutes one of the richest and most inspiring chapters in the history of European art. In his illuminating introduction to this important but much neglected period, Professor Alastair Smart argues that the early Italian masters — among them Cimabue, Duccio, Giotto, Simone Martini, and Pietro and Ambrogio Lorenzetti — should be seen as artists concerned with the values of their own time, and not merely as precursors of the Renaissance. The traditional view of these artists as 'primitives' has led critics in the past to misunderstand and undervalue their art. The mood of the Dugento and the Trecento was one of discovery and innovation, and yet, as Professor Smart shows, the preservation of vital and cher- ished traditions was often equally significant.
This is a period about which much still remains to be learnt, and exciting finds are constantly being made. It is also a period which has given rise to many art-historical controversies, and Professor Smart re-examines many of the most important of these vexed questions, bringing the arguments up to date in the light of the latest evidence.
The illustrations, which include 15 colour plates, convey a sense of the purity and freshness of early Italian painting, qualities which cannot fail to impress and delight any visitor to Italy's great churches and galleries. The book's usefulness to student and layman alike is enhanced by the inclusion of a detailed bibliography. Alastair Smart is head of the Department of Fine Art at the University of Nottingham and Director of the University Art Gallery. He is the author of many books and articles, both on early Italian painting and on other subjects, including studies on Constable and Allan Ramsay.
Very Good copy.