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Collection of Manuscripts and Photographs [Trieste, Italy]

Berlam, Arduino Loose typescript and handwritten in pen and ink manuscripts on questionable bond paper, black and white silver gelatin photographic prints, mailing envelopes, and two folded and oversize printed maps in the original wraps. A unique aggregation of primary and secondary sources documenting Italian architecture, geography, and cultural life during the pre-World War II occupation, specifically in the area of Trieste, Italy. Condition varies by material type, manuscripts are in exceptional and legible condition with some discoloration to the paper and wear and tear; the addressed and annotated, but tattered envelopes served their purpose as protectors for the enclosures; however the majority of the silver gelatin prints are in exceptional condition with little oxidation or paper degradation. Images are clear, bright, and detailed with rich black and white tones. The two maps, although folded, are bright and unmarred, despite some discoloration on the original wrapper. Overall, collection is brilliant and distinctive, as an early 1930s insight into a characteristically, unparalleled Italian region with Hapsburg Dynasty roots. Papers represent a small archive of material created by Arduino Berlam, prominent Italian architect, in the region of the city Trieste, nestled on the northeastern coastline of Italy, only a few kilometers from the border of Slovenia. Arduino Berlam was the son of Ruggero Berlam, also an established architect, both known for their collaborative architectural design on the Synagogue of Trieste. Arduino continued to design buildings throughout the 1930s, but also wrote and published several historical and travelogue essays about Trieste. The manuscripts represented in this collection are unpublished and explore more of the cultural and geographic aspects of the area, and uniquely written in English, rather than Italian, presuming to be pitched for a wider market of readership and interest in the area. Evidence of this is recorded in the letter written to James Pond of the Pond Bureau discussing the possibility of publishing the manuscripts (enclosed) into a book or article in a magazine. The Pond Bureau, famously started by James Burton Pond, represented lecturers and writers, mostly on a presentation circuit, and included clients as Henry Ward Beecher, Winston Churchill, and Mark Twain. James Pond, as a correspondent then, to whom Berlam wrote, was undoubtedly, James Burton Pond, Jr. who took over the business when his father (Sr.) died in the 1920s. The letter also indicates Berlam and Pond were in communication previous. The letter alludes to an enclosed handwritten manuscript titled: "A Few Words and Many Photo’s about Little Characteristic Churches in Friouli [Northern Italy]. 20 pp. which is included. Also included in the collection: Handwritten in pen and ink "Mediaeval Castles in Friouli [Northern Italy]" (Doct. Arch. Arduino Berlam. Member of the National Directory of the Syndicate of Italian Architects.) 24 pp. This manuscript has annotations in red pencil that correspondence with a numbering system on the photographs [1-29]. "The Grotto of Postumia (formerly Adelsberg)" 4 pp. (1 folio leaf). The handwritten pages in pen and ink are also edited and annotated. Interestingly, this essay describes the many grottos (caves) in the area, formerly part of the Austro-Hungarian empire at one time. Included are nine black and white photographs recording this particular grotto c. 1930s. Lastly, "Picturesque Trieste, Italy" 24 pp. typescript, including the sections "The Huge Grotto of San Canziano" and "The Dwellers of the Subterranean Metropolis." Heavily annotated, the typescript describes, in travelogue fashion, Trieste and peninsula of Istria written in language to attract curious American tourists, i.e. "day trip of interest." The style of the essay suggests Berlam was writing charismatically, not only for an American audience, but for amateur travelers in mind. The photographs in the collection number over 100 and encompass images of architecture, landscape, customary dresses of local folk, and art. All of the photographic processes for the collection are gelatin silver, on varying degrees of paper quality and various size prints. The images of the grottos of San Canziano (now known as Škocjan Caves) are extremely scarce, estimating from the 1930s. Parts of the caves were not quite open to the public at that time. The 8×10" photographs from the San Canziano cave were taken by Professor Antonio Iviani (signed), naturalist and cave explorer, quite well-known and accomplished photographer of natural subterranean landscapes. Berlam probably collaborated with Iviani to acquire and use such photographs, as they are not prolific. Similarly, because this is a ‘research’ collection, Berlam utilized and gathered secondary image sources to supplement his articles, so many of the photographs are photographic prints processed by 1930s contemporary Italian photographers and the great photographic firms of the time, including Fratelli Alinari, Giacomo Greatti, Oscarre Sanvini, and Pietro Opiglia. There are 14 photographic postcards in the collection by Oscarre Sanvini, embossed with the O. Sanvini logo. Berlam was extremely efficient by documenting the photographs with an annotated description, photographer, and place attached to the photograph. In some cases, the description also includes a number, which corresponds to a grouping of photographs, as written on 3 of the 4 envelopes in the collection. Also included: Luigi Vittorio Bertarelli, and Boegan (Eugenio). Carta della Distribuzione delle Grotte nella Venezia Giulia, [Milan] 1926. This set of maps illustrates a period of forty years of cartographic exploration producing a cross-section of two thousand caves in the Province of Udine [Friuli-Venezia Giulia] region. Annotated with a note from Berlam: "To accompany Arduino Berlam’s article "Picturesque Trieste." The collection is remarkably distinct, outlining and illustrating a smal
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Mixed Collection of Bondage and Sexuality Paperbacks

Various] Condition varies on the selection of bondage and erotica pulps from fair+ to very good, some have obvious wear and tear and discoloration. Machlin, M. eds. Dare magazine, [New York: Fiction Publications, Inc.] September 1954. Mini-magazine featuring sensational tales, real crime news, and gratuitous cheesecake photographs. 66 pp. Color cover with black and white photographs. Anon. Leather Loving Lena. [San Diego: Flag Publications] c. 1960s. First edition paperback, Number 400, 48 pp., saddle staple with text and black and white photographs. Depicts bondage scenarios with image of women in clad in lingerie, chains, and in suggestive bound poses. Various authors. Astounding Transvestite Tales. [Seattle: Empathy Publishers] 1974. Issue Number 7, Volume 2. First edition, paperback digest size, saddle staple, with reproductions of line drawings. McAllister, Callista. Pornella. [Santa Barbara: Capra Chapbook Series] 1975. First edition, paperback, edition of 100, No. 32 in the chapbook series, 44pp. Small run chapbook erotica novel. Anon. Reflections from the Spanking Mirra. [Protem Press] c. 1950s. First edition, Volume 1, Number 1. Illustrated textured cardstock wraps, saddle staple, 12pp., plus cardstock covers. Lesbian bondage, spanking and flagellation illustrations. Davis, Porter. Auto-Erotic Practices. [Los Angeles: Banner Books] 1951. Enlarged edition, original wraps. 80 pp. Psychological sexology in a series of various controversial sexuality topics ranging from masturbation in children to auto-erotism in widows. Anon. A Woman Sold! No publisher, c. 1960s. First edition digest size paperback, saddle staple. 32 pp. Erotic bondage and flagellation fiction with black and white illustrations. A few of the pages have recognizable illustrations from Gene Bilbrew.
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A Modest Proposal

Swift, Jonathan; O’Kane, David [illus]; Carpenter, Andrew [intro]; Traynor, Jessica [poetry] Tight, bright, and unmarred. Halfbound, black leather spine and foredge, red leather spine label, gilt lettering, marbled paper boards, printed in red and black ink; matching drop-spine archival box with inlaid Irish porcelain. Imperial folio. 64pp. Illus. (b/w plates). Lettered limited edition, this being IJK. [N.B. there are 4 additional copies, i-iv, hors de commerse. Deluxe copies, 1-5, are each in a unique binding reflecting an issue confronting modern Ireland (homelessness, abortion rights, direct provision, religious persecution, and affordable housing) in "hand dyed alum tawed goatskin with reverse offset printed inlays and red calfskin borders, 22c gold hand lettered title, red handmade paper doublures with blind tooling, distressed silver endpapers with 23.5c gold leaf highlights, graphite top edge, red calfskin headbands" by Kate Holland and including an additional portfolio containing a full suite of the lithographs and a full suite of the poems. "This publishing of A Modest Proposal was produced to mark the 350th anniversary of the birth of Jonathan Swift in 1667. First printed in 1729 by Sarah Harding ‘on the Blind Key‘, Dublin. Designed, typeset and letterpress printed by Jamie Murphy with much grateful assistance from Niamh McNally, Sarah O’Neill and Phelim McGovern. The type employed is 22 point Monotype Caslon, an interesting cut quite close in character to William Caslon’s ‘Roman and Italick’ types of the late 1720s. The type was originally cast into founts by Neil Winter at The Whittington Press from matrices acquired from the Oxford University Press. The book was printed on a Western style Double Crown proofing press at Distillers Press, NCAD, Dublin. Andrew Carpenter has introduced the edition. Jessica Traynor has supplied nine new poems in response to the original text. David O’Kane has scratched the ten illustrations which have been editioned from lithographic stones by Michael Timmins at his workshop in Stoneybatter. The book has been printed on 250gsm mouldmade paper from the Zerkall Mill, Hürtgenwald, Germany, supplied by John Purcell, London. Based in Wiltshire, UK, Jemma Lewis has designed and produced the marbled papers based on marble patterns found at St. Patrick’s Cathedral where Swift was once Dean. Eleanor Swan has produced the porcelain inserts for the standard copies at her studio on the grounds of Russborough House, Co. Wicklow." (Publisher statement)
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The Life of Samuel Johnson, LL.D.: Comprehending an Account of His Studies and Numerous Works, In Chronological Order; A Series of his Epistolary Correspondence and Conversations with Many Eminent Persons; and Various Original Pieces of his Composition . In Three Volumes. The Second Edition, Revised and Augmented.

Boswell, James Light shelf/edge wear, even toning to spines and text block edges, professionally rebacked (circa mid-19th cent.), minor sporadic foxing at preliminaries, discrete owner notations at endpages, else tight, bright and unmarred. Full brown leather boards (original sheep boards carefully matched to a calf spines), burgundy leather labels, gilt lettering and decorative elements, frontispiece. 8vo. xviii, xxxvii, 603pp; 634pp; 711pp. Illus. (b/w plates). Engraved portrait frontispiece, after the painting by Sir Joshua Reynolds (by J. Baker). Includes the fold-out ‘Round Robin’ plate (Vol. II) and a fold-out plate containing facsimiles of Dr. Johnson’s handwriting (Vol. III). The last edition published in Boswell’s lifetime, it contains additional material including "Additions to Dr. Johnson’s Life Recollected, and Received after the Second Edition was Printed" (pp. *i-*xxii); "A Chronological Catalogue of the Prose Works of Samuel Johnson, LL.D" [noted as the first attempt at a Johnson bibliography] (pp. *xxiii-*xxxi); and "Corrections" (pp. *xxxiii-*xxxvi) but not the leaf of Additional Corrections (*c3 in Volume I), which has been tipped into some copies. It is worth noting that this tipped in leave may constitute a later issue of the edition. "The text of the second edition. deserves a close study. Although we believe that the third represents the form in which Boswell would ultimately have arranged [the] supplementary material, we can never be sure of it, for this edition was the last actually published in his lifetime. There were also many pleasant and characteristic sentences introduced in this edition which naturally dropped out when the text was shaken together by Malone" (Pottle 81; see also, Rothschild 468). Overall, a very handsome set, seldom found in as close to original state as is found here. Very Good [Textblock Near Fine]. No DJ as Issued. First Edition Thus (Second Revised and Augmented Edition).
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43

Velázquez, Lorena Constructed in concertina (accordion) fold artist book, printed on black paper with reinforced cloth edging, mixed printing technique; interventions with acrylic ink and serigraphy, half-flap cover with punched and sewn red thread ties, back board with a braille pastedown. Black and white portrait photographs, text in Spanish and English. 43 pp., edition of 43, this being copy ____. Artist book addressing the human rights tragedy of the 43 disappeared, kidnapped, and murdered Mexican students in Iguala, Guerrero State, Mexico. According to "official reports," the students commandeered several buses to travel to Mexico City to commemorate the anniversary of the 1968 Tlatelolco Massacre. During the journey, local police intercepted them and a confrontation ensued. Details of what happened during and after the clash remain unclear, but the official investigation concluded that once the students were in custody, they were handed over to the local Guerreros Unidos ("United Warriors") crime syndicate and presumably killed. Mexican authorities claimed Iguala’s mayor, José Luis Abarca Velázquez (es), and his wife María de los Ángeles Pineda Villa, masterminded the abduction. To this day, only 2 of the students bodies were positively identified, although the authorities recovered several remains. [Wikipedia] Designed to confront and educate on corruption and violence in Mexico by government and police.
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farbwechsel [Color Change] [Complete in Six Volumes]

Ketelhodt, Ines von Tight, bright, and unmarred. Quarterbound, cloth spines and printed paper boards (white, black, red, yellow, green and blue), uniform size, but orientation and structure varies; grey cloth dropspine archival box. fo. np. Illus. (color and b/w plates). Limited edition of 33 copies. Signed by the artist. "farbwechsel: weiß (color change: white) In Eastern cultures white is the color of mourning and death. The white volume contains photographs and headlines about the tsunami disaster that struck Japan on March 11, 2011. They were taken from international online newspapers and were collected from March 11, 2011 to March 11, 2012. The selection includes many different voices from various countries and languages. The photographs (polymer plates) and the hand set dates (72 point condensed Block) were printed in letterpress with white ink on white paper. In spite of the different white shades of paper and printing ink, the monochrome white/white print result is difficult to read. Design, letterpress and bookbinding by Ines von Ketelhodt. 56 pages, bound in printed paper over boards with printed linen spine. Headlines: 11 mars 2011: Tsunami au Japon, après un violent séisme March 12, 2011: Japan pushes to rescue survivors as quake toll rises 13. März 2011: Neue Explosionen am AKW Fukushima 14 March 2011: Japan battles with radiation leak 15. März 2011: Atomkraft auf Stand-by: Vorübergehende Stilllegung deutscher AKWs 16. maaliskuu 2011: Asiantuntijat varoittavat Fukushiman tilanteen olevan pahenemassa 17 mars 2011: Japoni: Bilanci i viktimave 14.500 18 marzo 2011: Japón eleva el nivel de alerta nuclear en la central de Fukushima-1 19 Mart 2011: Japonya’da radyasyon korkusu en yüksek seviyede 20 maart 2011: Foekoesjima nou net twee vlakke laer as Tsjernobil-kernramp 21. märts 2011: Jaapani ministeerium avaldab kodulehel andmeid radiatsioonitaseme kohta 22 marzo 2011: Radioattività nel mare di Fukushima – Nuove scosse, 21 mila tra morti e dispersi 11 abril 2011: Japão eleva alerta nuclear para mesmo nível de Tchernobil 11 mayo 2011: Casi 15.000 muertos confirmados por el seísmo de hace dos meses en Japón 11. juni 2011: Tusinder demonstrerer mod a-kraft i Japan 11 julho 2011: Japão fará testes de resistência em todas suas centrais nucleares 6 August 2011: Double jeopardy: Fukushima victim is Hiroshima survivor 11. September 2011: Schwarze Tage – Ein Thementag über katastrophale Ereignisse, die die Welt veränderten 11 octobre 2011: Après Fukushima, seules l’Italie, la Suisse et l’Allemagne ont renoncé à l’énergie nucléaire 12 novembre 2011: Fukushima: giornalisti visitano la centrale atomica 6 december 2011: Radioaktiv mjölk i Japan 18. tammikuu 2012: Japani pidentää ydinreaktoriensa käyttöikää February 11, 2012: Thousands march against nuclear power in Japan amid worries set off by Fukushima disaster 11 marzo 2012: Giappone, in silenzio un anno dopo lo tsunami farbwechsel: schwarz (color change: black) The photographs were taken while wandering through the city of Frankfurt with long exposure times, without looking through the view finder of the camera. A slightly translucent black letterpress rectangle is printed with polymer plates onto the offset printed night photographs. Text passages by Giorgio Manganelli’s "La Notte" (in Italian/German) appear in some of the black rectangles. The type face is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. Photography, letterpress and bookbinding by Ines von Ketelhodt. 32 pages, vat paper, two-sided concertina (31 feet) with printed paper over boards. Giorgio Manganelli (only a short passage): "First we are often asked: which shape said night has, if the appellation shape is even justified for said night, and if this shape, provided there is one, is constant and immovable and finally, if it is measurable. According to the impression of those, who busied themselves with this, said night has the shape of a cuboid; ( )." farbwechsel: rot (color change: red) The red volume contains kissing scenes out of Hollywood movies taken from the television screen, featuring scenes from "How to Steal a Million", "Cleopatra", "Mirage", "Some Like It Hot", "The Kid", "To Have and Have Not" with Lauren Bacall, Diane Baker, Humphrey Bogart, Charlie Chaplin, Tony Curtis, Audrey Hepburn, Marilyn Monroe, Peter O’Toole, Gregory Peck and Elizabeth Taylor. New couple combinations are created so that each actress is kissing each actor. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. Design, letterpress and bookbinding by Ines von Ketelhodt. 60 pages, bound in printed paper over boards. farbwechsel: gelb (color change: yellow) The yellow book contains a complete chapter by H. C. Artmann’s tale "Die Sonne war ein grünes Ei" ("The sun was a green egg" in German original). It’s a funny surrealistic genesis about the creation of the world and its objects. It is about the jealous relationship of sun, moon and a certain object, as well as the genesis of stars and falling stars. As not more than five or six of the 20 Cicero wooden letters fit into a line, I couldn’t break the lines by dividing words according to syllables. Printed with yellow ink on yellow paper the text at first sight seems more like a pattern, but it is still legible: type face as a vehicle for content and type face as pure shape or texture. Design, handset, letterpress and bookbinding by Ines von Ketelhodt. 88 pages, bound in printed paper over boards. H.C. Artmann: At this time there were no railways, people traveled through the land on great objects. These objects were tame, they could speak, one could talk with them during the long rides, they asked questions and gave answers; yet whistles or steam they could not make. It was in the winter, moon and sun were riding south, snow was falling, it was cold, the wind was blowing icily, moon and sun were afraid of
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Walter Richmond’s Case [1937 Maine Crime Scene Photographic Notebook]

Deshates, Walter [officer] Minor shelf/edge wear, light soiling and spotting at front wrapper, pen notation at front ("No – 100"), else tight, bright, and unmarred. Green cardstock, black tape binding, photographs tipped in. 12mo. np. Illus. (b/w plates). "West shore of Pleasant Pond, Turner, Maine / October 2nd, 1937 / Pictures by Walter A. Deshates, Deputy Sherrif" [from front wrapper]. 20 b/w photographs of the body and surroundings from a rural Maine murder scene."Turner, Me, Nov. 1 [1937] – Mystery surrounds the death of Walter Richmond, 45, whose body was found in the yard of his home on the Merrill Mills road Saturday and Dr. Henry S. Prince of Lewiston, country medical examiner, called into the case, ordered an autopsy to determine the cause of death.He said Richmond had been dead several days and his water-soaked clothes supported that theory. Strewn about the yard were articles from Richmond’s pockets, jacknives, coins, glasses case, cartridges, matches, a bottle opener, etc. The body was discovered by Walter Mathews or Turner and John H and Charles Comeau of Sumner, lumbering on a lot in the rear of Richmond’s home, who passed over a road through the Richmond yard, but they went over this road earlier in the day and several times the last few days, passing within a few feet of where the body was found without noticing it. Richmond was last seen Tuesday night when he bought groceries at a Turner Center store and obtained a suit of clothes by a neighbor a mile away. The groceries were missing Saturday.Richmond was the son of Mr. and Mrs. Elisha Richmond, was born and always lived on the place where he was found dead today and had lived alone since the death of his wife eight years ago." [Portsmouth Herald, Portsmouth, NH]
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Booty Girls

CUBA Minor edge wear, else tight, bright, and unmarred. Loosely bound sheets. 8vo. np. Illus. (colored plates). Unique copy. Signed by the artist. Acrylic paint marker drawings on paper. Artist’ shop-book, used to test/design work and color schemes. A unique books of acrylic paint marker drawings of graffiti murals, most of which have been executed on walls throughout the San Francisco Bay area from 2009– 2012.This is an amazingly beautiful example of urban art, and valuable primary research materials for African American studies, calligraphy, type design, urban studies, art history and visual art. This an unusual work, as he seldom does ‘women’, focused typically on more political issues. Here he blends women and politics with style and flare. Also, unusually, he includes a small self portrait.Cuba is one of the grandfathers of the San Francisco Mission School, supplying both the aesthetic styles and the radical leftist politics that formed what may be the only coherent new school of American art since the Punk/graf rock art scene of the 1980s. "It was a lot of punk rock shows and stuff like that. There was always graffiti in these places and I was just like, "Who is this guy? I keep on seeing this guy." There was this one guy, Cuba, he wrote "Cuba" and it was at all the same hardcore shows in the bathroom, on the door, and on the street. And then I was like "What, who’s doing this?" It was different than my idea of what graffiti was before that." – Barry McGee, in PBS’s Art of this Century, 2005 "We want to flex our skills and make the community look better," says the 41-year-old painter known as Cuba, who has been working on walls, with and without permission, for more than 25 years. "It’s our own form of urban renewal." -San Francisco Chronicle, Monday, March 7, 2005
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John A. Spenkelink Execution Illustrations by Noted Courtroom Illustrator [Original Art]. "Capital punishment — Them without the capital get the punishment."

Robe, Jim [illus] Minor toning and wear, else bright and clean. Six original pen and watercolor sketches, numbered and bearing notation. Various sizes, approx. 14×20". Illus. (hand colored).1: Execution scene as Venetian Blind went up. 2: Witnesses including prisoner’s lawyer and minister.3: Last view of prisoner while alive.4: Prisoner’s headpiece adjusted while masked executioners look on5: ‘Filipino’ doctor pronounces prisoner dead6: Spenkelink minutes from death. Original art from a well known courtroom illustrator of Florida’s first execution after reinstatement of the death penalty. While Robe worked for a Tampa paper, these were done for television (WFLA/NBC). "John Arthur Spenkelink (1949–1979) was a convicted American murderer. He was executed under controversial circumstances in 1979, the first convict to be executed in Florida after capital punishment was reinstated in 1976, and the second (after Gary Gilmore) in the country.Spenkelink’s case became a national cause célèbre, encompassing both the broader debate over the morality of the death penalty and the narrower question of whether the punishment fitted Spenkelink’s crime. His cause was taken up by former Florida Governor LeRoy Collins, actor Alan Alda, and singer Joan Baez, among many others. Also at issue was the assertion that capital punishment discriminated against the poor and underprivileged. (Spenkelink often signed his prison correspondence with the epigram, "Capital punishment means those without capital get the punishment.")The execution was finally carried out on May 25, 1979, in Old Sparky, the Florida State Prison electric chair.The controversy did not end with Spenkelink’s execution: When the blinds covering the windows of the execution chamber were opened to the witnesses, Spenkelink had already been strapped into the chair, gagged, and blindfolded. Since the witnesses had not seen the prisoner brought into the chamber, rumors later spread that he had fought the guards, that his neck had been broken in the altercation, and that he was dead before the execution took place. Spenkelink’s corpse was eventually exhumed by a Los Angeles coroner, who determined that the cause of his death was in fact electrocution. To prevent similar future controversies, prison officials removed the window blinds to allow witnesses to view the entire execution procedure from beginning to end."On May 25, 1979, Spenkelink, 30, was given two shots of whiskey, then executed in front of 32 witnesses, including 10 reporters. It took three jolts to kill him. But because the venetian blinds separating the witness section from the death chamber were closed until Spenkelink was strapped in, witnesses did not get a good look. Spenkelink had straps drawn tightly across his mouth and was denied a final statement by prison officials."Spenkelink’s last words were, "Capital punishment — Them without the capital get the punishment."Citations: Spinkellink v. State, 313 So.2d 666 (Fla.1975) (Direct Appeal).Spinkellink v. Florida, 428 U.S. 911, 96 S.Ct. 3227 (1976) (Cert. Denied).Spenkelink v. State, 350 So.2d 85 (1977) (State Habeas).Spinkellink v. Florida, 434 U.S. 960 (1977) (Cert. Denied).Spinkellink v. Wainwright, 578 F.2d 582 (5th Cir. 1978) (Habeas).Spinkellink v. Wainwright, 442 U.S. 1301 (1979) (Stay).James T. Robe: American 1928-2000Born in Michigan, studied design at the University of Cincinnati. Acclaimed Florida artist who painted Impressionist and Modernist views of rural genre, cityscapes and beach panoramas in the Post WWII era beginning at the same time as the Florida Highwaymen and continuing throughout the 20th century both at his Meadowbrook Studio and en plein air on the Gold Coast, Treasure Coast and Gulf Coast. For many years he was retained as a staff artist for the Tampa Tribune and he illustrated a 1997 book on Florida history in conjunction with his wife Jackie, an award winning landscape photographer. These images appear to have been created for WFLA TV & NBC News (per notation).
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Alton Trials: of Winthrop S. Gilman, who was indicted with Enoch Long, Amos B. Roff . and Taddeus B. Hurlbut for the Crime of Riot, . while engaged in defending a Printing Press from an attack made on it at that time by An Armed Mob. Also the trial John Solomon . for a riot committed in Alton . unlawfully and forcibly entering the warehouse of Godfrey, Gilman & Co., and breaking up and destroying a Printing Press

Lincoln, William S. Light shelf/edge wear, sunning at spine, dampstain marks on front board, evidence of a lifted book plate at front pastedown, small closed tear at ffep, light foxing at endpages, loss at the top of rfep (likely an owner name removal), else tight, bright, and unmarred. Green textured cloth binding, frontispiece. 12mo. 158pp plus advert. Illus. (b/w plate). On November 7, 1837, Elijah Parish Lovejoy (borning in Albion, Maine) was killed by a pro-slavery mob while defending the site of his press,The Saint Louis Observer, renowned for producing abolitionist tracts. For many, Lovejoy was a martyr to the cause of free speech. His death deeply affected many Northerners and greatly strengthened the abolitionist [anti-slavery] cause and effectively proved that slavery posed a danger to the liberties of all Americans. Emerson was appalled by the incident and, in response, delivered an address in Concord focusing on the necessity of preserving free speech.[the address does not survive in finished form]. OCLC locates 11 copies. [Howes L-348; Sabin 41268; Cohen, Bibliography of Early American Law 12163]
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Liebig Fleischextrakt: Bilder aus Ungarn [Pictures from Hungary] [Complete set of six, in both printed state and original watercolor paintings]

Minor edge wear, light toning, else bright and clean. Twelve cards (six original paintings, six trade cards as issued (printed back, etc), mounted, all originals show ‘jar onlay’ for the chromo-process, one card shows onlay ‘repairing’ horses tail. 3×5" cards. Illus. (color litho *and/or* handpainted). Lower right reads, "Erklärung siehe Rückseite" (For explanation, see reverse); lower left, "Gesetzl geschutz" (Legal protection [copyright claim]). Verso of originals show pencil notation of title and stamp with order details. The Liebig Company is a major producer of "Meat Extract". Invented by famed German chemist Justus von Liebig the intent was to concentrate and preserve the essential nutrients and flavors of beef in the form of paste or bouillon cubes. Driven by a desire to help feed the undernourished, he developed a concentrated beef extract, Extractum carnis Liebig, to provide a nutritious meat substitute in 1840. However, it took 30 kg of meat to produce 1 kg of extract, making the extract too expensive. However, an English firm, who owned large cattle farms in South America, figured out an economical way to produce the meat extract in 1850 and named it after its inventor. "Liebig Fleischextrakt" was soon available worldwide. Around 1870, they began publishing wonderful colored lithographed cards and continued doing so until 1939, although the company continued publishing selected cards until 1975. Over the years, many famous artists were commissioned to design various series, using lithography, chromolithography, and finally offset printing. The back of each card bore advertising for the Liebig Company products or a recipe. Over the course of their publication, the produced over 11,000 different cards. With the exception of very rare early issues, the cards were given by the company in exchange for coupons and are generally found as complete sets. Each series has six or twelve cards in a set, each card approximately 3×4". Most series were issued in more than one country and can thus be found in several languages.
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Liebig Fleischextrakt: Aus Dem Leben Mozarts [From the Life of Mozart] [Complete set of six, in both printed state and original watercolor paintings]

Minor edge wear, light toning, else bright and clean. Twelve cards (six original paintings, six trade cards as issued (printed back, etc), mounted, five of the originals show ‘jar onlay’ for the chromo-process, reflected in the trade cards. 3×5" cards. Illus. (color litho *and/or* handpainted). Lower right reads, "Erklärung siehe Rückseite" (For explanation, see reverse); lower left, "Gesetzl geschutz" (Legal protection [copyright claim]). Verso of originals show pencil notation of title and stamp with order details. The Liebig Company is a major producer of "Meat Extract". Invented by famed German chemist Justus von Liebig the intent was to concentrate and preserve the essential nutrients and flavors of beef in the form of paste or bouillon cubes. Driven by a desire to help feed the undernourished, he developed a concentrated beef extract, Extractum carnis Liebig, to provide a nutritious meat substitute in 1840. However, it took 30 kg of meat to produce 1 kg of extract, making the extract too expensive. However, an English firm, who owned large cattle farms in South America, figured out an economical way to produce the meat extract in 1850 and named it after its inventor. "Liebig Fleischextrakt" was soon available worldwide. Around 1870, they began publishing wonderful colored lithographed cards and continued doing so until 1939, although the company continued publishing selected cards until 1975. Over the years, many famous artists were commissioned to design various series, using lithography, chromolithography, and finally offset printing. The back of each card bore advertising for the Liebig Company products or a recipe. Over the course of their publication, the produced over 11,000 different cards. With the exception of very rare early issues, the cards were given by the company in exchange for coupons and are generally found as complete sets. Each series has six or twelve cards in a set, each card approximately 3×4". Most series were issued in more than one country and can thus be found in several languages.
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Liebig Fleischextrakt: Les Maitres Chanteurs de Nuremberg [The Master Singers Nuremberg] [Complete set of six, in both printed state and original watercolor paintings]

Minor edge wear, light toning, else bright and clean. Twelve cards (six original paintings, six trade cards as issued (printed back, etc), mounted, all originals show whitespace where jar is added in printed version. 3×5" cards. Illus. (color litho *and/or* handpainted). Lower right reads, "Erklärung siehe Rückseite" (For explanation, see reverse); lower left, "Gesetzl geschutz" (Legal protection [copyright claim]). Verso of originals show pencil notation of title and stamp with order details. The Liebig Company is a major producer of "Meat Extract". Invented by famed German chemist Justus von Liebig the intent was to concentrate and preserve the essential nutrients and flavors of beef in the form of paste or bouillon cubes. Driven by a desire to help feed the undernourished, he developed a concentrated beef extract, Extractum carnis Liebig, to provide a nutritious meat substitute in 1840. However, it took 30 kg of meat to produce 1 kg of extract, making the extract too expensive. However, an English firm, who owned large cattle farms in South America, figured out an economical way to produce the meat extract in 1850 and named it after its inventor. "Liebig Fleischextrakt" was soon available worldwide. XXXXX Around 1870, they began publishing wonderful colored lithographed cards and continued doing so until 1939, although the company continued publishing selected cards until 1975. Over the years, many famous artists were commissioned to design various series, using lithography, chromolithography, and finally offset printing. The back of each card bore advertising for the Liebig Company products or a recipe. Over the course of their publication, the produced over 11,000 different cards. XXXXX With the exception of very rare early issues, the cards were given by the company in exchange for coupons and are generally found as complete sets. Each series has six or twelve cards in a set, each card approximately 3×4". Most series were issued in more than one country and can thus be found in several languages.
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Liebig Fleischextrakt: Argentinien [Argentina] [Complete set of six, in both printed state and original watercolor paintings]

Minor edge wear, light toning, else bright and clean. Twelve cards (six original paintings, six trade cards as issued (printed back, etc), mounted, all originals show ‘jar onlay’ for the chromo-process. 3×5" cards. Illus. (color litho *and/or* handpainted). Lower right reads, "Erklärung siehe Rückseite" (For explanation, see reverse); lower left, "Gesetzl geschutz" (Legal protection [copyright claim]). Verso of originals show pencil notation of title and stamp with order details. The Liebig Company is a major producer of "Meat Extract". Invented by famed German chemist Justus von Liebig the intent was to concentrate and preserve the essential nutrients and flavors of beef in the form of paste or bouillon cubes. Driven by a desire to help feed the undernourished, he developed a concentrated beef extract, Extractum carnis Liebig, to provide a nutritious meat substitute in 1840. However, it took 30 kg of meat to produce 1 kg of extract, making the extract too expensive. However, an English firm, who owned large cattle farms in South America, figured out an economical way to produce the meat extract in 1850 and named it after its inventor. "Liebig Fleischextrakt" was soon available worldwide. Around 1870, they began publishing wonderful colored lithographed cards and continued doing so until 1939, although the company continued publishing selected cards until 1975. Over the years, many famous artists were commissioned to design various series, using lithography, chromolithography, and finally offset printing. The back of each card bore advertising for the Liebig Company products or a recipe. Over the course of their publication, the produced over 11,000 different cards. With the exception of very rare early issues, the cards were given by the company in exchange for coupons and are generally found as complete sets. Each series has six or twelve cards in a set, each card approximately 3×4". Most series were issued in more than one country and can thus be found in several languages.
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A Golden Thread

Belloff, Mindy Tight, bright, and unmarred. Endsheets letterpress printed, front and back uniquely illustrated; two gilt edges on head and tail in 23-karat gold, with cover design and label in gold foil on leather (gilded by Peter Geraty); hand sewn on linen tapes with cover in quarter leather Pergamena blue calf skin with white Canal paper, housed inside a gold cloth clamshell box with gold foil stamped leather label (bound by Celine Lombardi). Fo (14.75×11 ). 92pp [28 blank]. Illus. (color plates). Numbered limited edition of 32, with 8 additional Deluxe Editions (with design bindings, additional loose copies of various prints, and foredge painting (this last is TBD). Includes one hundred original drawings and approximately two hundred press runs. Cotton rag papers in ivory, tan, and white, made at St. Armand Paperie, Canada. Letterpress printed from photopolymer plates produced at Boxcar Press, NY. "A Contemporary Illumination The Minotaur short story by Nathaniel Hawthorne, from Tanglewood Tales, 1853. Additional text includes quotes of Carl Jung and text from Lorem Ipsum. Mindy Belloff, artist, designer, printer, and publisher. Released May 2018, A Golden Thread is a new tour de force edition from Intima Press. This livre d’artiste focuses on the classic Greek tragedy of Theseus, the brave son of King Aegeus, who ventures into Daedalus’ labyrinth with his sword at the ready, and a silken thread in hand held by the heroine, Ariadne, who awaits at the entrance to the maze. Composed of 100 original drawings, each page is meticulously designed and letterpress printed in multiple press runs with an elegant color palette. With inspiration from historic illuminated manuscripts, the pages in the first and third sections are adorned with hand drawn initial caps, ornate borders, and lively calligrams. A selection of the exquisite illustrations are hand painted with watercolor and gouache. Elegantly typeset in Adobe Garamond with additional type faces, the text comes alive, as it gradually becomes larger and more animated with each page, as Theseus bravely winds his way through the dreaded labyrinth to confront the bull-headed monster. The dynamic typographic designs of the middle section of the book become more frenzied and chaotic as the narrative describes the fight between the beast and the hero. The pages are printed on lush cotton rag papers with deckled fore edge. The story unfolds on ivory colored pages which darken to tan as our hero enters the mizmaze, and transitions to bright white as he emerges victorious. The St. Armand paper fibers are made of offcuts from the clothing industry (T-shirts, denim) and flax straw sourced from farms."