List 12:  CHOICE
... for December 2017
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TERMS.  Some recent acquisitions relating to ILLUSTRATIONINNOVATION,  and  VISUAL CULTURE. Also pleased to announce that our next exhibition will be at the Spring Conference of the Ephemera Society of America in Old Greenwich, Connecticut, preceded by a Winter scouting trip to Europe. Send notice of your desiderata; because the Cloud forgets together.  // Purchases are guaranteed to be catalogued, shipped, and delivered to the collector's satisfaction. Returns are eligible within 10 days of receipt. Reciprocal terms are extended to the trade; institutional policies are accommodated. Prices are issued in USD; sold items will be marked as such regularly. Shipping is charged at cost. Various forms of payment are accepted. Phone (416-729-7043) or email ( for acquisition inquiries; priority is given to first interest. Subscribe to be added to our mailing list; subscribers receive advance copies of lists. Seen above: Elseeta, the Dancing Marvel, circa 1900—the new muse for our Instagram account (@cloudforgets).
BOSIO, Jean-François (illustrator);  RADOS, Luigi (engraver)
[Dottore Giovanni Giuseppe Gall, autore del sistema della craniologia...]. 
Printed from plate produced for Serie di vite e ritratti de' famosi personaggi degli ultimi tempi (Vol. III).
Milano: Presso Batelli e Fanfani, 1818.  Later printing

A remarkably-preserved stipple engraving (with plate mark of 220 x 154 mm.), printed on wove sheet (29 x 20 cm.), signed in plate by Bosio (dis.) and Rados (inc.) and captioned as "Dottore Gio. Giuseppe Gall."
During his celebrated years in Paris, Franz Joseph Gall (1758–1828) made a rather curious entry in the third and final volume of Serie di vite e ritratti de' famosi personaggi degli ultimi tempi (1815–1818), as the fourth of dozens of great lives represented there, including Erasmus Darwin, Bodoni, Lord Byron, Fichte, Piranesi, Rousseau, and Laurence Sterne. Not only was Gall's first name Latinized by the editors as Giovanni (or possibly Giorgio)—rather than as the more obvious Franco—but his birth-date was also fudged by a decade (1768 given for 1758). The liberties further extended to Gall's otherwise impressive coiffure, which was here given the severe skinhead treatment by French artist Jean-François Bosio; imagining Gall fondling his skulls in a bone-dry, proto-Magritte landscape.
Not recorded in Drugulin's Bilderatlas. With no OCLC copies for the larger work discovered in North America.
CRUSIUS, Louis (illustrator)
[First issue of the Antikamnia calendar]. 
St. Louis: Antikamnia Chemical Co., as printed by G. H. Buek & Co. Lith. N.Y., 1896

Six leaves of thick card stock (25 cm. tall), with original binding-string drawn through two punches to top. With vibrant chromolithographs to rectos, after watercolours by Crusius; each composition incorporating two monthly calendars and accompanied by witty captions. With lengthy texts to versos describing various applications for the Antikamnia tablets and a summary advertisement to the verso of final leaf.
Before his sudden death in 1898, the eccentric Dr. Louis Crusius (b. 1862) had sold enough of his iconic skeleton watercolours to the Antikamnia Chemical Co. of St. Louis, to supply them with five years' worth of material for their vibrant chromolithographic calendars, through which they promoted their wonder pill to doctors. Employing an altogether different rhetoric than J. J. Grandville—who was so precise in his selection of animal heads—Crusius costumed his largely uniform skeleton heads in the various forms of contemporary drag—e.g. as miser, lawyer, cowboy, hobo, druggist, suffragette, newspaperman, or farmer. Ultimately, the choice for the very first cover (seen above) proved deliciously ironic, inasmuch as the Antikamnia Chemical Co. would be prosecuted for their failure to disclose the toxicity of their ingredients, following the buzz from a 1907 article in the California State journal of medicine: "Poisoning by Antikamnia."
FLAGG, James Montgomery
[Sketch of Abraham Lincoln, appearing to depart the Memorial]. 
[New York?], after 1922
850 USD

Charcoal and pencil sketch (280 x 150 mm.), with subtle flesh pastel. Signed and inscribed by Flagg to upper margin. Faint horizontal crease, with remnants of conservator's tape to verso.
Best known for his Uncle Sam recruitment posters from the World Wars, as well as for his development of the "Flagg girl" aesthetic, James Montgomery Flagg (1877–1960) was one of the most vibrant of American illustrators, allegedly producing an illustration-per-day during his heyday of magazine work. When it came to depicting President Lincoln, however, Flagg appears to have preferred the melancholic tone. In the present sketch, a posthumous Lincoln is set back in motion, descending the steps of the Memorial—presumably in disgust—with the faintest of flesh pastels applied to his skull. Boldly inscribed to the top of this haunting composition: "Stan's idea drawn roughly by me. Seems a swell conception;" potentially in reference to Flagg's colleague Penrhyn Stanlaws, himself to paint a Lincoln portrait in 1950. With no subsequent states of this sketch discovered.
END OF LOT 03   Contact for purchase inquiries.
MARTIN, Charles (illustrator)
[Wine service materials from famed French wine retailer]. 
Paris: Printed by Draeger Imp., circa 1930s

A group of two items, being: (1) Un repas bien conçu est comme une symphonie bien ordonnée. Single sheet, folded into accordion panels (measuring 20 x 10 cm.). With full panel illustration to front (uncredited), featuring Nicolas' trademark figure of Nectar as conductor; with boldly-printed titles featured on internal panel. Once unfolded, the verso of the sheet reveals a partially-printed wine service document (described below); this example not accomplished in manuscript.  The second item being (2) Le service des vins doit être une symphonie; a single folded sheet of laid paper (28 cm. tall), composing [4] pages, with front panel featuring a full-page illustration by Charles Martin, printed in red and black. With [2] pages of contents and a simple wine glass illustration to rear panel. Small pinholes to left margin; minor spotting.
Known for their marketing savvy, the French wine retailer Établissements Nicolas has worked with an impressive array of illustrators, perhaps most famously through their three-part collaboration with Paul Iribe, which beat out efforts from Moholoy-Nagy and Man Ray in a 1931 advertising competition. Since 1922, the heart of the company's identity has rested with Nectar, the unassuming wine delivery man. With these two promotional items, however, Nectar receives something of a social upgrade, positioned as the conductor for a Nicolas wine service that should be greeted with symphonic expectations. In this spirit, the first item unfolds to reveal a pairing form, with the menu fields to be filled-in by the client, to elicit suggestions from a Nicolas representative, with recommendations for two suggested services. The second item—illustrated by Charles Martin in a way that renders Nectar even more unfamiliar—is less interactive; revealing lists of sommelier rules and heresies.
With no OCLC records discovered for the first item; and only 2 records for the second (Indiana, UC Davis).
(BELL, Alexander Graham)
[Two items relating to the impact of elocution on the development of the telecommunications industry].
Boston, 1868 and 1893
350 USD

A group of two items, being: (1) a lecture ticket (50 x 80 mm.) for a course of six lectures on elocution by Alexander M[elville] Bell; printed on thick orange card-stock, with minor soiling. Name inscribed to lower corner, with improvised score-card to verso; and (2) Alexander Graham Bell's 1893 Address upon the condition of articulation teaching in American schools for the deaf. Printed wrappers (23 cm.), with chip to right margin and modest wear to spine. Contents: 14 paged-address, followed by an Appendix featuring [15]-72 pages of infographics and statistical tables. With names of Officers for the American Association to Promote the Teaching of Speech to the Deaf printed to the recto of the rear wrapper.  Ex-library copy, with punch-stamp to title page being only treatment. With printed presentation slip bound-in at front: "Compliments of Alexander Graham Bell, 1331 Connecticut Avenue, Washington, DC."
Motivating his work as a telecommunications pioneer: both Alexander Graham Bell's mother and his wife were deaf; with a young Bell having built an automaton that could speak "Mama" through artificial skull, throat, larynx, and lips. Bell's material understanding of language extended from his paternal side, with both his grandfather and father being teachers of elocution; the latter—Alexander Melville Bell—having developed the symbolic system of visible speech as a means of rendering sign language altogether redundant.  With this 1868 lecture ticket, we find Bell Sr. lecturing in North America for the first time, with a course of six lectures at Boston's Lowell Institute. Less than three decades later, and only a few years after winning the Volta Prize for his telephone invention, Alexander Graham would deliver the 1892 address reproduced in the complimentary pamphlet offered here, to open the 2nd Lake George Meeting of the American Association to Promote the Teaching of Speech to the Deaf. Bell accompanies his diplomatic address—which attempts to transcend the partisanship between proponents of sign language versus those for "articulation"—with a series of infographics that he compiled regarding the percentages of deaf students throughout North America who were being given the right to learn "to speak and read from the lips."
With no physical copies of the Address discovered in OCLC libraries in Canada.
END OF LOT 05   Contact for purchase inquiries.
KOCH, Franz Otto (news agent)
[A group of captioned news photos promoting European inventions].
New York: International Press Photo Co., circa 1910–1914
750 USD

A group of 23 silver print photographs (averaging 122 x 165 mm.), many curling. With each of the prints captioned to versos, both in typescript and manuscript; showing hand-stamps from Koch's International Press Photo Co., sometimes with a cancel stamp from Chicago's Tillotson & Terrell agency.
Before the Great War, Franz Otto Koch appears to have found some cross-Atlantic leverage, in peddling technological news from his New York office; supplying newspapers with captioned images of the latest in European inventions and ingenuity. Some of the stories in this group include: a variety of automobiles—for road, water, and snow—Parisian street cleaning machines and garbage pickers, moving vans, swimming houses, an English dreadnought, a distillery for Attar of Roses and Neroli, a braille typewriter, a crystal clock from Bohemia, a proto-Segway mobility device (see above), and a haunting celebration of the Lusitania, as a vessel having "broken all records." Of the time-controlled phonograph (pictured below) Koch supplies the following copy: "A German mechanic invented a way of connecting the gramophone with a clock. For example, if at 7 o'clock he wishes to have the phonograph play, he attaches the clock to the phonograph and at 7 it plays."
END OF LOT 06   Contact for purchase inquiries.
MAXIM, Hudson
The science of poetry and the philosophy of language.
New York: Funk & Wagnalls Company, 1910. Presentation copy
150 USD

Burgundy cloth boards (25 cm.), with elaborate design. Some rubbing to edges. Contents well-illustrated with 15 black-and-white plates from William Oberhardt; [xiv], 294 pages. Accompanied by typescript letter, signed by Maxim and preserved in original envelope.
Most famed as part of the Maxim machine gun family, we find the inventor and explosives expert Hudson Maxim here turning his attention to the chemical spontaneity of language, in search of an experimental foundation for poetry. To test his theory, Maxim attempts to rewrite passages of Shakespeare and Milton without shame, while offering his own poetic contributions, such as San Francisco fallen; "I have, therefore, in the following poem, assumed that San Francisco was destroyed for some reason unknown to us, as the result of a conference between the gods and the ghosts of the dead. My object in the poem has been to introduce a large percentage of new and surprising figures. I have tried to maintain an atmosphere of the weird, the mysterious and terrible, in keeping with the character of the calamity, and throughout I have endeavoured to make the tonal impressiveness of the lines harmonize with the thought expressed." The letter that accompanied this presentation copy—to the daughter of of Maxim's one-time benefactor, Francis G. DuPont—communicates Maxim's supreme confidence in having achieved his goal.
END OF LOT 07   Contact for purchase inquiries.
[A group of romantic postcards, from the early age of telephony].
Published at London and New York; printed in Berlin by E. A. Schwerdtleger, [before 1912]

14 photographic postcards (36 x 86 mm.), with minor surface wear. As issued from four separately-numbered series, with three of the cards accomplished in manuscript on versos; postdated from London in March of 1912.
Only a few decades into its everyday use, the telephone had already occasioned mutations. Within these four postcard series from Berlin's E. A. Schwerdtleger—being of notably international scope—the general tropes for romantic longing are already reaching for the device.
The kingdom of dust.
East Aurora, NY: The Roycrofters, May 1913 

Sewn pamphlet, with decorative wrappers (21 cm.), printed in red and black. With motto printed to rear wrapper. Contents: 21, [3] pages. 
For every invention, a need. Written just more than two years before he sank with the Lusitania, Elbert Hubbard here wrote a treatise on vacuuming, on behalf of the Domestic Vacuum Cleaner Company of Worcester, MA. "Man is an air-breathing animal. The great foe to health is dust, because dust carries with it the germs of filth that makes for disease and dissolution." This work is included in McKenna's bibliography, as a one-line entry in his long list of Hubbard pamphlets; "Hubbard's greatest gift was his ability to write advertising copy, and he wrote much for many." Nonetheless, this remains an uncommon Roycrofters item, with no OCLC copies discovered.
[POTTER, William R.]
The science of invention [a correspondence course of twenty-four lectures].
Rochester, NY: Bureau of Inventive Science, 1925
150 USD

Twelve pamphlets, comprising 23 lectures; staple-bound with printed wrappers (22 cm.), with owner's name to the front covers of most. Contents: 32; [38]; 38; 24; 16; 30; [26]; 8; [32]; [26]; 32; and [20] pages, with Volume VIII illustrated with three black-and-white photographic leaves, showing time-and-motion studies. Complete course housed in original cardboard slipcase, showing some edge-wear. With illustrated label to slipcase spine, featuring ownership inscription of William R. Potter.
On the endpapers of the third volume from this correspondence course—following the lectures "What an inventor should know about mechanics" and "What an inventor should know about electricity"—William R. Potter of Tunkhannock, PA appears to have had his Eureka moment. "Idea: automatic windshield wiper which operates immediately when windshield becomes wet with rain or sleet. Shutting off when surface becomes clean and dry." The full set of courses was issued by Rochester's mysterious Bureau of Inventive Science, which promised-out fortunes in the advertisement pages of Popular science.
END OF LOT 10   Contact for purchase inquiries.
Dr. Kroll's orthoptic exercises. Consisting of twenty-six colored plates. 
[New York], circa 1900 .
250 USD

Cloth portfolio; oblong (9 x 18 cm.), with folding flaps and titles to front panel, showing small abrasion. Featuring 26 illustrated cards, printed in vibrant colour; rectos blank. With one of the cards designed as a movable.
Originally proposed by Dr. Kroll at the 61st Annual Meeting of the German Academy of Science, these orthoptic cards were designed as the basis for exercises to help improve binocular vision disorders in children, when used in conjunction with a stereoscope. The original black-and-white cards were here updated by Dr. R. Perlia, both with the addition of colour and with 12 entirely-new compositions—including a clever movable card for which the distance between the incongruent acrobats could be customized for each patient's eyes. With only a single OCLC record discovered (Osler), which records an accompanying instruction manual.
END OF LOT 11   Contact for purchase inquiries.
ISHIHARA, Dr. Shinobu
The series of plates designed as tests for colour-blindness. 
Tokyo: Kanehara & Co., 1937. "Complete" edition (seventh)

Plain cloth boards, with titles stamped in black to front panel. With hand-stamp of John Weiss & Son to title page. Contents: 24 pages of text, with contemporary underlining, illustrated by a frontispiece portrait of Ishihara and followed by 32 colour plates (numbered on versos), loosely fastened into corner-slits of black card-stock; accordion-bound. The plates showing some modest surface wear with a handful of marginal notations, but otherwise well-preserved.
In 1917, Dr. Shinbou Ishihara, then-Professor of Ophthalmology at the Imperial University of Tokyo, first issued his pioneering test for congenital colour-blindness; one still in use today. The simplicity of the pseudoisochormatic design—requiring no intermediary technology and relying primarily on Arabic numerals—allowed the test to be easily applied in the field, with this edition specifically referring to the examination of railway employees and Navy recruits, while providing instructions and keys in English, French, and German. WIth this seventh edition (1937), the plates first jumped from 24 to 32 in number. NB: given the precision of the colour-printing, each copy of the Ishihara test has since become quasi-unique; this one having belonged to the famed surgical instrument-making firm of John Weiss & Son: "The plates must be kept out of the sunlight when they are not in use, for the colouring undergoes a gradual change by exposure to light."
(PICKFORD, Mary); Vitagraph Studios
Agents portfolio of twenty-four roto-gravure portraits given to subscribers by the Motion picture magazine.
Brooklyn, NY: Vitagraph Company of America, circa 1916
350 USD
Plain brown cloth boards (28 x 35 cm.), well-worn, with floral endpapers. Front hinge cracked, with front endpaper and title page loosened from binding. With each of the 24 portraits remaining bright and clean.
An artifact from the pioneering marketing department at Vitagraph Studios, which launched the first fan magazine in 1911, under the title Motion Picture Story Magazine. In 1914, the serial was renamed Motion picture magazine, with the focus shifting from the stories to the players. Part of this strategy involved supplying roto-gravure portraits of film celebrities to magazine subscribers. On offer here: a sample portfolio of 24 of said portraits, to be used by agents while securing subscriptions; with the title page preserving details of the offer: 10 portraits being free with a 12 month subscription ($1.50), 7 portraits with an eight month subscription ($1.00), and 5 portraits free with a 6 month subscription ($0.75). “Roto-gravure is a comparatively new process in printing, producing remarkably attractive results, especially when applied to portraits. The portraits contained in this portfolio would ordinarily sell for from 25 to 35 cents each. By printing in larger quantities, we have been able to make this remarkable offer.”  Featuring portraits of: Alice Joyce, Carlyle Blackwell, Edith Storey, Crane Wilbur, Clara K. Young, Francis X. Bushman, Lillian Walker, Earle Williams, Mary Pickford, King Baggot, Mary Fuller, Warren Kerrigan, Lottie Briscoe, Arthur Johnson, Blanche Sweet, Romaine Fielding, Florence Lawrence, Edwin August, Pauline Bush, James Cruze, Mabel Normand, John Bunny, Vivian Rich, and Beverly Bayne; Pickford being in contract negotiations with Vitagraph in 1916.
With no comparable OCLC records discovered.
END OF LOT 13   Contact for purchase inquiries.
New documentary films: new methods.  New York, 1944

Broadside programme (55 x 18 cm.), printed in navy blue on cream paper. With horizontal creases from folding; otherwise very good.
A program of 26 documentary films, exhibited across thirteen weeks in the Summer of 1944 (with the schedule for the thirteenth week TBA); the majority of the works being WWII-related. Including six films from Frank Capra's Why we fight series, and two from the Office of War Information, as narrated by motion picture celebrities Major Clark Gable and Lieut. James Stewart. A three-week cycle of films on Central and South America, curated by the Office of the Coordinator of Inter-American Affairs, is joined by an animated Disney film: The grain that built a hemisphere, nominated for the Academy Award for Best Documentary in 1943.  "Note: Because of war emergencies, the above programs are subject to change without notice."
New York: The Letter Edged in Black Press, 1968
150 USD

Single disc (diameter 174 mm.), with radial apertures and pencil hole at centre. Both recto and verso illustrated after sequential photographs. A few pencil marks near centre, betraying minor use. Preserved with original sleeve, featuring printed titles.
Still early in his career as a structural filmmaker, Hollis Frampton designed this 1968 multiple for the fourth volume of the collective publishing experiment S.M.S. (Shit must stop), centred around William Copley's Upper West Side loft. Leveraging the persistence of vision to produce two distinct loops—of a basketball being bounced and a lollipop being sucked—Frampton was apparently paid the same $100 artist's fee as other contributors to Copley's subscription service, including Ray Johnson, John Cage, Yoko Ono, and Claes Oldenburg.
END OF LOT 15 . Contact for purchase inquiries.
Objectif: revue indépendante de cinéma.
Montreal, 1961–1965

16 issues, with photographically-illustrated wrappers (22 cm. tall) printed on bold colour fields; advertisements to rear. Contents ranging between 36 and 90 pages (some double issues), with advertisement section to rear pages. Photographically-illustrated throughout, in black-and-white. Of the 39 numbers of this serial that were published between 1960 and 1967, this group contains numbers 9-12, 14–16, 18–22, 25, and 28-33.
Partially deriving its name from one of the Parisian film societies that birthed the epochal Cahiers du cinéma (i.e. Objectif 49), Objectif was very much the Québécois organ for modern cinema criticism. With stunning cover designs from Camille Houle, the present selection of issues includes interviews with Jean-Luc Godard, Satyajit Ray, Luis Buñuel, Shirley Clarke and reviews of The birds, Bob le flambeur, Chronique d'un été, Cléo de 5 à 7, Cuba si, Dr. Strangelove, Le mani sulla cittá, Shock corridor, Very nice, very nice and a number from Godard (including Bande à part, Le petit soldat, and Le mépris). On the domestic front, issue 32 begins with an essay by Pierre Hébert on the development of the experimental collection of Guy L. Coté, which would eventually form the basis of the Cinémathèque québécoise.
Not the New York Times, Vol. 1, No. 1 [all published]
New York, 1978. Strike parody
100 USD

Simulated newspaper (58 cm. tall), assembled into 3 gatherings of 8 pages each (A, B, C). With expected browning to newsprint, which is nonetheless stable; hard creases from double fold, with minor tear to centre-fold of first section.
The only issue of The New York Times to be printed during the 1978 NYC press strike, which ultimately lasted over 80 days. Above the fold: a story about the sudden death of the newest Pope—John Paul John Paul I, the 264th Pontiff and first non-Italian. The sub-heading claims: "Reign is briefest ever. Cardinals return from airport."  In reality, Pope John Paul I had both been elected and died during the press strike, making him the first Pope to have been wholly absent from the Times' pages. The timing of this parody issue was spot-on; October 16, 1978 also being the date of the election of the next real Pope, John Paul II, who was indeed the first non-Italian Pontiff. This 24 page issue akso includes Lifestyle and Sports/Business sections, with the final page of the latter featuring a Miss Manners column entitled "Ask Premier Kim Il Sung." Rocket man.
END OF LOT 17   Contact for purchase inquiries.
LOT 18  / CULT
(LYNCH, David)
[Audience swag  from midnight screenings of Eraserhead]
.  Circa 1986  ................. 40 USD

Single sheet (36 x 27 cm.), with image printed to recto in red and black; verso blank. Preserved in remarkably fine condition.
To conclude 2017: a lovely Lynchian stocking stuffer, in anticipation of the bicentennial anniversary of Frankenstein; fatherhood in reverse.
END OF LOT 18   Contact for purchase inquiries.
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