New Wave (35 results)

Condition: NEW.

Condition: NEW.

Condition: NEW.

Soft cover. Condition: Very Good. 210 pages. Illustrated. Jeremy Montagu "Musical instrumentals in Hans Memling's paintings" / Peter Walls "Reconstructing the archangel: Corelli 'ad vivum pinxit'" / Rebecca Cypess "Chambonnieres, Jollain and the first engraving of harpsichord music in France" / Lionel Sawkins "Exotic nectar transformed: the grands motets of Lalande's maturity" / John Koster "Towards an optimal instrument: Domenico Scarlatti and the new wave of Iberian harpsichord making" / Carl Sloane "A fresh look at Domenico Scarlatti's Essercizi per gravicembalo, and the 'tremulo di sopra'" / John Byrt "Elements of Rhythmic inequality in the arias of Alessandro Scarlatti and Handel".

Soft cover. Condition: Very Good. 1st Edition. 4to. Stapled sheets. Cast lists and synopsis. Frayed and tear 2cm into spine.

Glossy wrappers saddle-stapled. Condition: Very Good. The Pizz [cover] (illustrator). First Edition. Small 4to (8.25 x 11 inches). Pp. 87, including covers. Illustrated throughout with black & white photography and comix. Printed on newspaper stock with glossy wraps, saddle-stapled with a color cover illustration by The Pizz. Just a hint of edge-wear. A bright copy. This issue features a cover illustration by The Pizz, with articles on Vertigo, Stripminers, Don Fleming, Jerry Lee Lewis, the Dwarves, Crawlspace, etc. Now housed in a removable, clear archival sleeve with an acid-free backing.

Condition: New.

Condition: New.

Glossy wrappers saddle-stapled. Condition: Near Fine. First Edition. Small 4to (8.25 x 11 inches). Pp. 84, including covers. Illustrated throughout with black & white photography and comix. Printed on newspaper stock with photo-illustrated glossy wraps, saddle-stapled. Some age-toning and slight edge wear. A bright copy. This issue with features a Charles Peterson cover photo, with articles on Poison Idea, Laughing Hyenas, Seattle's Cat Butt featuring David Duet and Charlie Ryan ("Circus Charlie"), and a fine Peterson photo of the U-Men. Now housed in a removable, clear archival sleeve with an acid-free backing.

Condition: New.

Printed wrappers. Condition: Near Fine. First Edition. 8vo. Pp. 24, including covers. Illustrated with black & white illustrations and comix. Bound in loose paper wrappers. A bright copy with just a suggestion of wear. A super cool fanzine largely devoted to the Cramps and the garage milieux, with references to the Fuzztones, "Riot on Sunset Strip," the Nomads, the Legendary Stardust Cowboy, etc. Includes a two-sided Tim Elcoch poster measuring 12 x 17 inches. Now housed in a removable, clear archival sleeve with an acid-free backing.

Unbound. Condition: Very Good. No producer, place or date. Presumed late 1970s. 1 ½ inches in diameter. Safety pin style back. A pinback for the British punk band Penetration, formed in 1976 and led by Pauline Murray. The band broke up in 1979. They are perhaps best known for their song "Don't Dictate." This pinback has the words wig, eye lashes, bosom, waist, tummy, hips on it, between two images of women. VERY GOOD condition. Minor rusting to the reverse.

Poster. Condition: Good+. First Edition. Single sheet 11 x 17 poster printed on buff card stock. Light foxing, chips and pinholes to corners. Jim Basnight's second band the Moberlys was formed in 1978 and disbanded in 1980. Now housed in a removable, clear archival sleeve with acid-free backing.

s/w-Porträtpostkarte, von allen 4 Musikern eigenhändig signiert.

Poster. Condition: Good+. First Edition. Single sheet 11 x 17 poster printed on yellow card stock. Light foxing to upper portion, chips and pinholes to corners. Chinas Comidas was founded by ex-Red Dress members Cynthia Genser and Rich Riggins, and the bands frequently gigged together around 1980. Now housed in a removable, clear archival sleeve with acid-free backing.

Condition: Fine. KOS02201095.

Condition: Fine. Volume: 1.

Condition: Very Good. R. K. Sloane [front cover]; Jeff Gaither, Michael Roden, Ed Roth [rear cover] (illustrator). First Edition. 4to. Pp. 56, including covers. Illustrated throughout with black & white photography and comix. Printed on newspaper stock, saddle-stapled with an illustration by R. K. Sloane on front cover and rear cover illustration by Jeff Gaither, Michael Roden. Old horizontal fold now mellowed, minor edge-wear. An early issue in the original large format, before the fanzine transitioned to the smaller glossy size. This issue features articles on Anthrax, Big Stick, Doctors Mob, Faith No More, Seattle stand-outs the U-Men, The Mentors, Samhain, etc. Now housed in a removable, clear archival sleeve with an acid-free backing. Printed wrappers saddle-stapled.

Kunstpostkarte Atelierszene (1981), eigenhändig signiert.

Condition: Very Good. First Edition. Loose sheet printed both sides, bifolium measures 8 x 11.75 inches; opened, 16 x 11.75 inches. Illustrated with black & white photographs and comix. Crease across middle now mellowed. A newsletter and guide to the Tom Robinson Band's 1979 North American Tour - North American inasmuch as it included a single Canadian stop in Vancouver, BC. Scarce. The "Seattle" venue was a short-lived spot on Pacific Highway South near Federal Way. Now housed in a removable, clear archival sleeve with an acid free backing.

Couverture souple. Condition: Bon. RARE - French book signed in person in Cannes in 1975 : Alain Resnais par Gaston Bounoure Paris, Seghers, 1974. Size : 16x13.5 cm. Condition : please see scans. Provenance : Georges Flour (1945-2013) collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Farbige Fotokunstpostkarte ("Strange Ritual" (Chicago 1995), bildseitig mit Goldtinte eigenhändig signiert.

Original-Einladung (Bütten-Klappkarte, 10,5 x 20,5 cm, leichte Knickspur, mit Prägesiegel des im Jahre 1050 in Goslar geborenen Kaisers Heinrich IV.) zur Verleihung des Kaiserring der Stadt Goslar 2005 an ROBERT LONGO, von diesem eigenhändig signiert (auch vorhanden : Farbige Kunstpostkarte "Men in the Cities 1980" mit eigenhändiger Widmung, Unterschrift in Silberstift signiert "For Ingrid, Euro 45,-).

Wraps. Condition: Very good. An official merchandising kit for the influential English heavy metal band Diamond Head, prepared in conjunction with the release of their album Canterbury (1983). Included here are a pictorial tour program, an official fan club and merchandising brochure, and two copies of a pictorial order form featuring merchandise from the band's 1983 British tour. All the pieces are printed in full color on glossy stock and housed in printed black cardstock folder emblazoned with the Diamond Head logo. Some minor edgewear to the folder; else crisp and clean. Scarce. Formed in 1976, Diamond Head was part of the New Wave of British Heavy Metal (NWOBHM), which drew on the hard rock of the 1970s and infused it with the intensity of punk rock to produce fast and aggressive songs. The DIY attitude of the these bands led to the spread of raw-sounding, self-produced recordings that were crucial to the rise of thrash and other extreme metal subgenres. Few NWOBHM bands are as revered as Diamond Head, who have been acknowledged as an important influence on Metallica and Megadeth, among many others. In fact, prior to a performance of the Big Four (Metallica, Megadeth, Anthrax, and Slayer) at the 2011 Sonicsphere Festival in Knebworth, drummer Lars Ulrich said that there was "a pretty good chance that none of us would be here" without Diamond Head guitarist Brian Tatler, whose songwriting credits include essential cuts like "The Prince", "It's Electric", "Helpless", and "Am I Evil?" . yes, I am.

1p, 4to. In fair condition, aged and lightly creased. Folded twice. The letter begins: 'Dear Bernard, | You probably know that I have just returned from Cuba and it was an exciting trip. | Unfortunately, one of the most depressing things was their very bad theatre; this is particularly because it is new and has no tradition, but also, to a great extent, due to their intolerable isolation.' Although there is little that they can do, Wesker promised to 'send as many plays and books' as he can. 'They really don't have hard currency to purchase more than a handful of international works', so Wesker has promised 'to write to a few writers and publishers asking whether they would contribute copies of their work which I would send, together with the Leyland buses, on a ship to Cuba'. Kops cannot imagine 'how hungry they are to be in contact'. He asks for copies of Kops's plays and of his book 'The Whole World is a Wedding'. He would buy the books, but this 'would work out very expensive', so he is 'asking lots of writers to share the burden'. He ends with best wishes to 'Erica and the children'.

TIEFE STILLE / DEEP SILENCE (zweisprachiger Kunstkatalog, deutsch-englisch, mit einem Text von Werner Spies Mönchehaus-Museum für moderne Kunst Goslar, 1. Auflage 2005, ERSTAUSGABE, 80 SS. illustriertes Pb. 8°, gut erhalten - von Robert Longo mit Jahr 2005 (als grad ernannter Träger des Goslarer Kaiserrings 2005 !) eigenhändig signiert.

Both 1p, 4to, and in good condition, lightly aged and folded once. Both letters addressed to Hodes at Beit Rosenberg, Keron Heyesod Street, Herzlia-on-Sea, Israel. The subject of the letters is Centre 42, the touring arts group Wesker formed to bring culture to the masses on his release from prison, following a sentence for civil disobedience with the Committee of 100 in opposition to nuclear weapons. The group moved to the Roundhouse in London in 1964. The first letter begins: 'Emersed as I have been in the festivals, I have only just got around to answering your letter and I find in it that you ask me to send some material to a friend in Ramat Chem. I am afraid it is too late to send him material now as he has probably returned. I am sorry about this, but I hope that the enclosed material will give some indication of the scope of the festivals.' The first three festivals have been 'mounted with varying success but the project as a whole has gained a great deal of public attention, though not always sympathy. There is something inherent in the English personality that considers culture outside the commercial framework to be an enfringement of a basic democratic principle.' He concludes: 'Plenty of Israeli theatres appear to have wanted my plays none of them have yet done so. [sic] God knows why.' The second letter is on Centre 42's stylish letterhead in grey and red, and begins with reference to a meeting between the two men in Israel, and 'Megged's book', a copy of which he has received from the publisher Gollancz. 'Concerning Centre 42 I have sent all the information about us to Dov Vardi and I understand he is going to write about us'. Wesker is sending 'a set of literature' to Hodes, adding: 'However, it strikes me as very strange that anyone in Israel should be interested in this sort of movement, since as far as I understand the Histadruth spends over a million pounds on the Arts and cultural activity in Israel, and this is what we dream of happening here in England. [] We even quote Israel as an example of the situation we should like to see.'.

First Edition. Founded by Colin Faver and Kevin Millins, Final Solution was arguably the most important promoter in the UK during the postpunk years. With their impecable eye for talent (Joy Division, New Order, Echo & the Bunnyman, Throbbling Gristle, et al) and their instantly-recognizable flyers, Final Solution produced many of the best shows in and around London, especially for shows at London's legendary gay nightclub Heaven. And the flyers, such as though included here, were in no small part key to this success. With their distinctive and colorful designs, these uncredited flyers both embody the aesthetics of the New Romantics (which the "Heaven sound" helped define), while retaining the lean aethetic of postpunk. Included here are five flyers for shows at Heaven (Thompson Twins, Flock of Seagulls, among others), as well as one for a show at Assembly Hall (Bauhaus), all from 1981. Six broadside flyers, each printed recto only. Offset, five in color, one B&W. Three 8" x 5.5" approx. Remainder 11.5" x 8.5" approx. Uniformly near fine to fine overall.

Truffaut, François. Collection of film pressbooks, 1966-1969, documents mid-twentieth-century film promotion and distribution practices within the French New Wave cinema movement. The material captures how films associated with François Truffaut were presented to journalists and exhibitors, situating his work within the international circulation of European art cinema. The grouping supports research into cinematic publicity systems, revealing how narrative, authorship, and visual identity were communicated to the press during the global expansion of French New Wave films. Truffaut, François. Pressbook collection for Fahrenheit 451 (1966), The Bride Wore Black (La Mariée était en noir, 1968), Stolen Kisses (Baisers volés, 1968), and Mississippi Mermaid (La Sirène du Mississippi, 1969). Four original pressbooks in illustrated wrappers, each between 4 and 6 pages. These materials include film stills, cast and crew credits, narrative summaries, excerpts of dialogue, and promotional imagery, including layouts for poster designs. The pressbooks were distributed to media outlets at the time of each film's release, providing standardized information and visual content intended for reproduction in reviews, advertisements, and exhibition materials. The layout and content emphasize both the films' narrative elements and Truffaut's role as director, reinforcing auteur-driven marketing. The material documents the system of film publicity and critical mediation through printed pressbooks, showing how distributors and production entities shaped the reception of French New Wave cinema by supplying press-ready narratives, imagery, and interpretive framing, and providing primary-source evidence for the study of international film marketing and auteur theory in practice. During the 1960s, French New Wave directors, including Truffaut, gained international recognition, and structured press dissemination played a key role in establishing their reputations outside France. Light handling wear to wrappers; contents clean and intact; overall very good to near fine condition. A cohesive group illustrating the mechanisms by which European art cinema was introduced and contextualized for global audiences.

An archive of material belonging to Rosemary Gaffney (??2024). Gaffney lived in the New York City area with her partner, Joyce Vinson; the two were involved in a number of feminist activist organizations including the New York Radical Feminists (NYRF), the National Organization for Women (NOW-NYC), and the Women?s Liberation Center. Gaffney was a performer, involved in filmmaking with Women Make Movies (WMM), and an employee at Mother Courage for the entire duration that the restaurant was in business, from 1972 to 1977. She also collected feminist literature and material from across the country. The collection spans several decades and includes numerous publications, event flyers, and behind-the-scenes notes from feminist groups. It is highlighted by collections of material related to WMM?particularly the 1976 short Healthcaring: From Our End of the Speculum?women?s theater and performance, and women?s health. The film and performing arts material records the efforts women put in to carve out a space for their own work in creative fields that were then disproportionately composed of men, while the women?s health material documents some of the early organizing around issues that arose from the similar underrepresentation of women and their issues in healthcare. Interestingly, the two topics intersect in the archive, particularly in Healthcaring but also in projects like the ?Mental Prisoners Liberation? screening at the Kitchen, which suggests a connection to the psychiatric survivors movement. These materials are of interest to researchers not just of feminist history but also the history of women in film and the arts; working, both in performance and healthcare; and in patient activism. The following description begins with these materials before turning to the remainder of the collection: Other Original and Unpublished Material; NYRF; Women?s Strike for Equality; NOW; The Women?s Liberation Center; Mother Courage Restaurant; Other Events and Organizations; and Other Publications. Women Make Movies (WMM) Founded in 1969 by Ariel Dougherty, Sheila Paige, and Dolores Bargowski, Women Make Movies is a non-profit feminist film organization based in New York City. It started as a workshop to teach local women to make films, and expanded to include screenings and film distribution. Today, WMM distributes films from nearly thirty countries, and its films have played at Sundance and Cannes. Though generally not found in OCLC, some items offered here may appear in WMM collections at the MoMA and the Academy Film Archive, or in the Ariel Dougherty collection at Harvard University. The present collection includes a significant amount of material on Denise Bostrom and Jane Warrenbrand?s 1976 short film Healthcaring: From Our End of the Speculum, which is listed in its own section. Items presented in alphabetical order. ? Blank WMM letterhead, 8 ? x 11 inches. ? Copy of a letter from the IRS to WMM. The letter, which addresses the group as ?Gentlemen?, approves its 501(c)(3) status. 8 ? x 11 inch photocopy. Very good minus. ? Grant application materials [two pieces]. November 1974 materials sent to Youthgrants for creating the film The Women?s Movement: The Past Seven Years, by Carol Clement, Ariel Dougherty, and Sheila Paige. Five pages, 8 ? x 11 inches. With large packet of grant-writing material. ? Manuscript notes about a film relating to a women?s bank in Bethesda. ? MENTAL ? PRISONERS ? LIBERATION / VIDEOTAPES at the kitchen. A flyer for a screening at the avant-garde Chelsea performance space The Kitchen, co-sponsored by The Kitchen and WMM. Titles include He Lives Alone (dir. Dixie Beckham, N.d.); Chelsea Infants of the Martial Arts (dir. Jane Warrenbrand, N.d.); and Career Women (dir. Lisa Methfessel, N.d.). The flyer reads in part, ?The Mental ?Patient? Movement / Radical Alternatives / Social Rejection, Stigmas? and ?Violence and Psychiatry / The Myth of ?Mental Illness? / Poetry and Music?, indicating a connection with the ps.