every building sunset strip (22 Ergebnisse)

Soft cover. Zustand: Fine. FIRST. A FINE FIRST IN PAPERBACK SECOND ISSUE IN NEAR FINE SILVER SLIPCASE.

Second edition. Softcover. Printed in an edition of 5000 without the rear flap present in the original issue. Leporello that extends to nearly 27 feet and features black and white photographs of what is purported in the title. A clean near fine copy in white wrappers with a thin sliver of glue stain to the rear panel near the spine from the close to near fine slipcase that some very minor wear and some of the usual splitting at the edges. Still, a much nicer than usual copy of an inherently fragile book. (Parr & Badger v1, 142-143: Roth 182-185).

hardcover. Zustand: Very Good. First Edition. First edition, second issue. One continuous accordion-fold page composed of glued paper segments with black-and-white photographs of very building on the Sunset Strip. Near fine in like slipcase covered in silver with some light tanning to the spine.

Softcover. Zustand: Sehr gut. 3. unnummerierte Auflage von 5000 Ex. Leporello. Format: 17,8 x 14,3 cm; ausgeklappt: 714 cm. 106 nn. Seiten. OKart. in mit Spiegelfolie kaschiertem OPapp-Schuber. [Edward Ruscha: Editions 1959-1999; B 4] Sehr gutes Exemplar.

First edition, first issue of Ruscha's self-published 27-foot accordion-folded photographic panorama of the iconic Los Angeles boulevard, a milestone in the history of artistâs books. First issue with a small flap as the final leaf. Octavo, original publisher's white wrappers with titles printed in silver to the spine and front panel, single accordion-folded panorama of both sides of the iconic Sunset Strip printed with offset lithography, opens to a length of 27 feet. Association copy, inscribed by the artist in the year of publication on the copyright page, "Merry Christmas Paton and Tillie! Ed Ruscha 1966." The recipient, actor and director Paton Price played a major role in developing Hollywood talents including Kirk Douglas, Jason Robards, and Jean Seburg. His directing credits include several episodes of "77 Sunset Strip," which ran from 1958-1964. He also directed episodes of Maverick (1961), Surfside 6 (1961) and The Partridge Family (1972). In very good condition with some bumping to the spine. Housed in the original publisher's foil-covered slipcase which is in very good condition. A very nice example, rare in this condition. In the 1960s, Ed Ruscha more or less reinvented the artist's book. By turning away from the craftsmanship and luxury status that typified the livre d'artiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. The 27-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the city's landmark thoroughfare" (The Getty Research Institute). Roth 101; Parr & Badger, Photobook II.

8vo. (181 x 144 mm). pp. 52, comprised of a single narrow accordian-folded sheet. Printed title, copyright and 2 continuous strips of monochrome illustrations from photographs, across top and bottom of a folded sheet (nine conjoined sheets with the additional small folded flap at the end of the book at 9176 and 9171 Sunset Boulevard) in leporello format; total size: 181 x 7455 mm. Original publisher's printed wrappers, title in silver to front cover and spine, original reflective silver slipcase. The first edition first issue, signed by Ruscha on the title, of this famous and important leporello artist book. From the edition limited to 1000 copies, complete with the small folded flap at the end of the book (at 9176 and 9171 Sunset Boulevard); this copy signed on the title page by Ruscha. 'The Sunset Strip satisfied one of Ruscha's early ambitions: 'In Oklahoma City, I delivered newspapers riding along on my bicycle with my dog . I dreamed about making a model of all the houses on that route, a tiny but detailed model that I could study like an architect standing over a table and plotting a city". As a result of his subsequent fascination with the Sunset Strip, this unrealized youthful ides resurfaced in a different form. The accordion-fold structure of the book was an appropriate format for Ruscha's intended depiction of the famous Hollywood thoroughfare as a series of two-dimensional storefront facades, like those of a Western town'. (Clive Phillpot). [Engberg & Phillpot B4; Roth pp. 182 - 185].

First edition, second issue. Small octavo, original stiff self-wrappers, original slipcase. Inscribed by the artist on the title page, "For John Ed Ruscha." One continuous accordion-fold page composed of glued paper segments with black-and-white photographs of every building on the sunset strip. FineÂin a fine slipcase. Housed in a custom half morocco clamshell box. An exceptional example. In the 1960s, Ed Ruscha more or less reinvented the artistâs book. By turning away from the craftsmanship and luxury status that typified the livre dâartiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. The 27-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the cityâs landmark thoroughfare" (The Getty Research Institute). Roth 101; Parr & Badger, Photobook II.

First edition, second issue of the artist's classic work. Small octavo, original stiff self-wrappers, original slipcase. Association copy, inscribed by Ruscha to his aunt, "For Aunt Carol Ed Ruscha." One continuous accordion-fold page composed of glued paper segments with black-and-white photographs of every building on the sunset strip. Near fineÂin a very good slipcase. An exceptional association. In the 1960s, Ed Ruscha more or less reinvented the artistâs book. By turning away from the craftsmanship and luxury status that typified the livre dâartiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. The 27-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the cityâs landmark thoroughfare" (The Getty Research Institute). Roth 101; Parr & Badger, Photobook II.

Taschenbuch. Zustand: Neu. Neuware - Los Angeles-based contemporary artist Ed Ruscha is celebrated for his paintings, drawings, prints, and artist's books, receiving widespread critical acclaim for more than half a century. Capturing the quintessential Los Angeles experience with its balance of the banal and the beautiful, his photobooks of the 1960s--such as Twentysix Gasoline Stations, Every Building on the Sunset Strip, Some Los Angeles Apartments, and Thirtyfour Parking Lots--are known for their deadpan cataloguing of the city's functional architecture.

Buch. Zustand: Neu. Neuware - ((Please scroll down for english version))Tausende Kilometer mit dem Auto und der Kamera durch Los Angeles - Traum oder Albtraum In seinem seit 2010 entstandenen Langzeitprojekt L.A. CROSSING zeigt uns Jens Liebchen die Hauptstadt der bedingungslosen Mobilität so, wie sie von den meisten ihrer Bewohner bevorzugt wahrgenommen wird: durch die Fenster ihrer Autos. Aus dem fahrenden Auto heraus blickt Liebchen auf eine Stadt die die Gegensätze von Utopie und Dystopie in sich vereint. Dabei klingt L.A. Crossing selbst wie der Titel eines Films und so wird die Strasse zur Bühne und die Fotografie zu einer Art Standbild. In das betörende kalifornisches Licht getaucht erscheint die Stadt dabei als fiktiv und real zugleich. Eine Ikone der Fotokunst, Stephen Shores Bild »La Brea/Beverly« dient als theoretischer Aufhänger Liebchens Arbeit. Ausgehend vom »La Brea Matrix Projekt«, in dessen Zentrum besagtes Foto stand, hat Liebchen den Blick umgekehrt und blickt nun von der Strasse zurück auf die Stadt. Weder hält er an, wie Lee Friedlander (in »America by Car«), noch ordnet er sich einer strengen Systematik unter, wie Ed Ruscha (in »Every Building on the Sunset Strip«). Liebchen fährt und fährt und fährt. Aus der privilegierten und klimatisierten Perspektive des Fahrersitzes offenbaren sich dabei Licht- und Schattenseiten der Traumfabrik. Großes Kino.Jens Liebchen (\*1970) arbeitet seit seinem Studium der Ethnologie als freiberuflicher Fotograf. Seine Arbeiten und wurden weltweit ausgestellt und befinden sich unter anderem in der Sammlung der DZ BANK Kunstsammlung in Frankfurt a.M. und des Museum of Contemporary Art, Los Angeles. Liebchen lebt und arbeitet in Berlin. Er wird von der Galerie Springer vertreten.Thousands of kilometers by car and camera through Los Angeles - dream or nightmare In his long-term project L.A. CROSSING, which has been in the making since 2010, Jens Liebchen shows us the capital of unconditional automotive mobility like most of its inhabitants prefer to look at it: through the windows of their cars. Out of the moving car, Liebchen looks at a city that embodies the opposites of utopia and dystopia. L.A. Crossing itself sounds like the title of a movie, accordingly the street becomes a stage and the photography becomes a kind of still image. Bathed in the beguiling Californian light, the city appears fictitious and real at the same time. An icon of photographic art, Stephen Shore's image »La Brea/Beverly« serves as a theoretical starting point for Liebchen's work. Beginning with the »La Brea Matrix Project«, which was centered around said photo, Liebchen has reversed the common view and now looks back from the street to the city. Neither does he stop, like Lee Friedlander (in 'America by Car'), nor does follow a strict gird like Ed Ruscha (in 'Every Building on the Sunset Strip'). Liebchen drives and drives and drives. From the privileged and air-conditioned perspective of the driver's seat, the City of Angels lights and shadows are revealed.Jens Liebchen (\*1970) has been working as a freelance photographer since his studies of ethnology. His works and have been exhibited worldwide and can be found, among others, in the collection of the DZ BANK Kunstsammlung in Frankfurt a.M. and the Museum of Contemporary Art, Los Angeles. Liebchen lives and works in Berlin. He is represented by Springer Gallery.

Zustand: Near Fine. Zustand des Schutzumschlags: Very Good. First Edition. First edition, second printing lacking the extra flap at the last fold. Signed by Edward Ruscha on the verso of the front cover and inscribed to a former owner. Bound in publisher's leporello wraps with titles printed in gray. Near Fine with creasing, toning and light staining to spine. In a Very Good slipcase with splitting to top and bottom joints, light wear to mylar. The photographer's conceptual monograph that highlights Los Angeles' iconic boulevard.

First edition. Signed first edition, second issue of this quintessentially Los Angeles book, and one of the great photobooks of all time with the original wrap-around band intact. Ruscha's fourth book, and arguably his finest, captures the Sunset Strip at a particular moment in time. A monumental and continuous accordion-fold scroll that opens to more than 25 feet, Ruscha documents as the title suggests the entirety of the Strip, with even numbered addresses running along the top the page and odd facing opposite along the bottom. "The effect is less like the fluid cinematic pan [] than a series of jolting jump cuts [] a ragged progression of gas stations, motels, apartment houses, parking lots, strip-malls, and honky-tonk signage" (Parr 182). A beautiful example of a notoriously fragile production. 7'' x 5.5''. Accordion-fold printed recto only and mounted in printed wrappers. Housed in original silver Mylar foil-covered slipcase with intact original plain white paper band. Signed by Ruscha along bottom edge of slipcase. PROVENANCE: From the collection of longtime MIT Press editor Roger Conover, who published several books by and about Ruscha. Spine lightly creased, with some unobtrusive glue offsetting to cover folds from slipcase, as common. Faintest crease to lower corner of last page. Light chipping and toning to edges of paper band. Near fine in near fine slipcase.

Zustand: Wie neu. Steidl, Göttingen, 2004. First edition, first printing. New, mint, unread; still originally shrink-wraped in publisher`s plastic foil. Clothbound hardcover with a white foil embossing. 280 x 280 mm. 260 pages. 204 colour plates. Text in english. Perfect condition! Collector`s copy! "Showcases Ed Ruscha's singular vision and his wide range of highly personal mediums and techniques from pastels and gunpowder to blood, coffee, and tobacco stains. Ed Ruscha's work includes paintings, photographs, prints, books, and films, but his unique works on paper are perhaps his richest vein. Through his interpretations of cultural icons and vernacular subjects such as the Hollywood sign, trademarks, and gas stations, as well as his renderings of words and phrases in countless stylistic variations, Ruscha proposes a modern landscape based on keen observation and wry humor." Ed Ruscha is also famous for excellent artist and photo books like Twentysix Gasoline Stations, Various Small Fires, Some Los Angeles Apartments, Thirtyfour Parking Lots, Some Los Angeles Apartments, Nine Swimming Pools and A Broken Glass and Every Building on the Sunset Strip.***************Steidl, Göttingen, 2004. Erstausgabe. Originalausgabe. Neu, ungelesen, verlagsfrisch; noch original-verschweisst in der Plastikfolie des Verlags. Hardcover ohne Umschlag (nur so erschienen). 280 x 280 mm. 260 Seiten. 204 farbige Abbildungen. Text in englischer Sprache. Perfekter Zustand! Sammler-Exemplar! Das Buch zeigt die Zeichnungen des Künstlers. Beeindruckend! Ed Ruscha ist auch berühmt für ausgezeichnete Künstlerbücher und Fotobücher wie Twentysix Gasoline Stations, Various Small Fires, Some Los Angeles Apartments, Thirtyfour Parking Lots, Some Los Angeles Apartments, Nine Swimming Pools and A Broken Glass und Every Building on the Sunset Strip. Sprache: Englisch Gewicht in Gramm: 1600.

Hardback in card slipcase. Zustand: Very good. First Edition. 25 x 30cm 556pp very good hardback contained within a buff-coloured card slipcase which has some minor marks to front and rear. Edward Joseph Ruscha , American artist associated with the pop art movement. He has worked in the media of painting, printmaking, drawing, photography, and film. He is also noted for creating several artist's books, notably 'Twentysix Gasoline Stations', 'Every Building on the sunset Strip' and Thirtyfour Parking Lots'. An incredibly well produced volume including some fold-out colour reproductions. A heavy book, may need extra postage.

Zustand: Condition: very good. First edition. 500 ex. SIGNED. Artist's book. The artist's response to Ed Ruscha's Every Building on the Sunset Strip. This volume assembled by driving the same stretch of Sunset Boulevard that Ruscha covered, but taking pictures of the cross streets instead of the buildings. The book shows thirty-three photographs from Monk's project None of the Buildings on Sunset Strip alongside a first edition of Ruscha's Every Building On the Sunset Strip that has been expanded as to show all eight meters of the content of the book. The result is a complimentary, yet juxtaposing look at one of the most iconic streets in North America. The photographs are all black and white, and shot in a snapshot style. Present in the TATE Artist's book collection. [68] pp; 20.5 x 15.5 cm Softcover with printed glassine jacket.

Softcover. Zustand: vg. 1) Twentysix Gasoline Stations. 1/400. 8vo. 48pp. 1963. Photographs from this book inspired a number of the artist's paintings, drawings, and prints of gas stations. Slightly chipped at top of spine on glassine, spine slightly cocked with little yellow discoloration on head and tail of spine. Very light stain on top front edge, not affecting the type. Near fine. 2) Various Small Fires and Milk. 1/400. 8vo. 48pp. 1964. One-inch split along top front edge of glassine, minor chipping on head and tail of glassine spine. Two light vertical ink stripes on page fore-edge. Fine. 3) Some Los Angeles Apartments. 1/700. 8vo. 48pp. 1965. A number of the apartment buildings shown in this work also were the subjects of a series of drawings Ruscha made the same year. Glassine 1/4" smaller than book, as issued. Minor age toning on glassine. Fine. 4) Every Building on the Sunset Strip. 1/1000. 8vo. 1 continuos photographic accordion-fold out. 1966. Signed in pen on top-edge of silver-covered slipcase. Ruscha made a series of editioned photographs based in part on this book in 1995. Spine is yellowed with center-crease from being opened, slight scuffing on slipcase, otherwise fine. 5) Thirtyfour Parking Lots in Los Angeles. 1/2413. 4to. 48pp. 1967. Pictorial flap on last page, as issued. The photographs in this book were taken by Art Alanis. Ruscha made a series of editioned photographs based on this work in 1999. Fine. 6) Royal Road Test. Ruscha, Edward; Mason Williams; Patrick Blackwell. 1/1000. 60pp. 1967. Spiral-bound wraps. Slightly creased on top right corner of front wrapper. Minor age yellowing to outer edges of interior pages. Near fine. 7) Nine Swimming Pools and a Broken Glass. 1/2400. 64pp. 1968. Small 'Pasadena Art Museum' sticker on free front endpaper. Illustrated with color reproductions of photographs. Ruscha made a series of editioned photographs based on this work in 1997. Slight age yellowing to outer edges of interior pages. Near fine. 8) Business cards. (Collaboration with Billy Al Bengston). 1/1000. 32pp. 1968. Faux wood-grain paper stock with mounted b/w photograph of Ruscha and Bengston, dated Jan. 3, 1968. Signed by Ruscha and Bengston on cover, additionally signed by Ruscha on inside cover. Bengston's business card with photographic card stapled onto blank page in rear, as issued. Business card is crumpled in each copy of the book as a nod to the "Dento" series of paintings he did in the 1960's. Photographs by Larry Bell and Ken Price. Fine condition. 9) Crackers. 1/5000. 240pp. 1969. Wraps with original printed dust jacket. Small 'Pasadena Art Museum' sticker on free front endpaper. This work illustrates Mason Williams' short-story "How to Derive the Maximum Enjoyment from Crackers." Story is printed on the inside back flap of the dj. The characters in the photographs are Larry Bell, Lèon Bing, Rudi Gernreich and Tommy Smothers. Crackers, which was intentionally photographed as if it were a collection of film stills, was the basis for Ruscha's 1970 film Premium. No glassine. Small chip on bottom front-flap of dj, otherwise fine. 10) Real Estate Opportunities. 1/4000. 48pp. 1970. 25 full-page b/w reproductions of photographs of Real Estate in the Los Angeles area. Glassine yellowed on spine, otherwise fine. 11) Babycakes. 1/1200. 52pp. 1970. Bound in wraps with pink satin ribbon. This book was part of the portfolio Artists and Photographs, published under art dealer Marian Goodman's imprint, Multiples, Inc. Photographs by Ed Ruscha, Elizabeth Claman, Sid Felsen, Jerry McMillan and Danna Ruscha. Some light staining on back cover, faded and soiled around edges, otherwise fine. 12) A Few Palm Trees. 1/3900. 64pp. 1971. Before creating this book, Ruscha had considered making a book called Seventeen Hollywood Palm Trees. The project which was never realized, evolved into A Few Palm trees. Slight rubbing on edges of rear wrapper. Near fine. 13) Dutch Details. 1/3000. 23pp. 1971. A Publication of the Octopus Foundation withi.

First edition. Publisher's original blue card covers with titles in black to the spine. Concertina binding illustrated with photographs in black and white, in the style of, or inspired by Ed Ruscha's Every Building on Sunset Strip. Housed in the original blue card slipcase with silver foil sides. A fine copy. Published on the occasion of an exhibition selected and installed by curator, Steven Bluttal, of over 200 unique 10" x 8" black and white photographs, almost all of which have not been seen before. Shot during the last ten years of his life, between 1976 and 1987, they give a remarkable insight into Warhol's photographic practice and his preoccupation with documenting everyday life. Taken as he moved around Manhattan, and other cities including London, literally snapping everything that came his way, they portray a collection of commonplace objects including dog-food, toilets, chairs, sidewalks, garbage, storefronts, shirts, teacups, mannequins, drunks, pigeons, sausages, toys, place settings and aeroplanes. The exhibition at Timothy Taylor Gallery between 17 January and 29 February 2008, coincided with the 21st anniversary of Warhol's death, in what would have been his 80th year. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Leporello in silbernem Schuber. Band 9 der Hommage-Serie an Ed Ruscha. 2019 fotografierte Takashi Homma in einer Nacht jedes Gebäude auf beiden Seiten der Ginza-Straße in Tokio. In identischer Aufmachung wie Ed Ruschas Fotobuch ?Every Building on the Sunset Strip? von 1966. - Eines von 500 Exemplaren der Normalausgabe. - Neuwertig. 800 gr.

Zustand: Wie neu. Steidl, Göttingen, 2006. First edition, first printing. New, mint, unread; still originally shrink-wrapped in publisher`s plastic foil. Clothbound flexible hardcover with a tipped-in photograph. 205 x 255 mm. 184 pages. 214 illustrations. Text in english. Perfect condition! Collector`s copy! "Although known for his paintings and drawings, California artist Ed Ruscha has also attracted critical attention for his photography. A new exhibition and accompanying catalogue, Ed Ruscha, Photographer, depart from earlier books to explore how the artist`s different disciplines - painting, drawing, printmaking, and photography - are guided and shaped by a single vision. Ruscha`s relationship to photography is complex and ambivalent, and the work is difficult to define. He has referred to this photography as a "hobby" but from the outset it has drawn considerable critical interest. the small books of photographs that ruscha produced in the sixties and seventies earned him a reputation as an underground artist among his peers, and have influenced subsequent generations of artists in Europe and North America. The photographs were snapshot size, with an amateurish quality that intrigued his contemporaries. Neither purely documentary nor solely artistic, their subject matter was stereotypical and bnal, with motifs drawn from sites in Southern California or the western United States. This, combined with their serial presentation, created a mythical road-movie or photo-novel effect with Beat Generation innuendos and inspired interest among artists at a time when serial logic was prominent in Pop art and Minimalism, and later in Conceptual art. this Volume, "Ed Ruscha, Photographer", is produced in cojunction with a traveling exhibition to be shown n Europe in 2006, organized by The Witney Museum of American Art, New York. The exhibition photographs have been selected from the collections of the Whitney and the artist by independent curator Margit Rowell, who is also the author of the publication." (from the publisher). Ed Ruscha was born in Omaha, Nebraska in 1937 and grew up in Oklahoma City, Oklahoma from 1941 to 1956. He moved to Los Angeles, California and attended Chouinard Art Institute from 1956 to 1960. His work has been exhibited internationally and is represented in major museums and private collections throughout the world. In 2001, Ruscha was elected to The American Academy of Arts & Letters as a member of the Department of Art. He was chosen by the U.S. Department of State to represent the United States at the 2005 Venice Biennale. Ed Ruscha is famous for excellent artist and photo books like Twentysix Gasoline Stations, Various Small Fires, Some Los Angeles Apartments, Thirtyfour Parking Lots, Some Los Angeles Apartments, Nine Swimming Pools and A Broken Glass and Every Building on the Sunset Strip.***************Steidl, Göttingen, 2006. Erstausgabe. Originalausgabe. Neu, ungelesen, verlagsfrisch; noch original-verschweißt in der Plastikfolie des Verlags. Hardcover in Leinen mit einer eingelassenen Fotografie. 205 x 255 mm. 184 Seiten. 214 Abbildungen. Text in englisch. Perfekter Zustand! Sammler-Exemplar! Ed Ruscha wurde 1937 in Omaha/Nebraska geboren und wuchs in Oklahoma auf. Er studierte am Chouinard Art Institute in Los Angeles. Sein Werk wird weltweit ausgestellt und ist Bestandteil vieler bedeutender Museen und Sammlungen. Ed Ruscha, der an vier Documenta-Ausstellungen teilnahm, ist Mitglied der American Academy of Arts and Letters. Er lebt in Los Angeles. Ed Ruscha ist berühmt für ausgezeichnete Künstlerbücher und Fotobücher wie Twentysix Gasoline Stations, Various Small Fires, Some Los Angeles Apartments, Thirtyfour Parking Lots, Some Los Angeles Apartments, Nine Swimming Pools and A Broken Glass und Every Building on the Sunset Strip. Sprache: Englisch Gewicht in Gramm: 1600.

Zustand: Very Good+. First Edition. First edition. From an edition of three-thousand copies, of which approximately only 200 are extant, making this one of the most elusive titles in Ruscha's oeuvre. Bound in original wide rectangle white card covers printed in black, measuring approximately 15" x 4, with top-bound pages with lateral gatefolds opening to create pages 30" in length with 116 offset lithographs.Text in Dutch and English. Very Good+ with toning, light wear and light damp staining to boards, light foxing. Published in conjunction with the Sonsbeek 71 exhibition in The Netherlands, Ruscha took these images only from bridges, presenting them in a panoramic style reminiscent of his Every Building on the Sunset Strip. Although this book was supposed to have an open edition, available via mail-order, sales were slow and the printer removed and disposed of extra copies from its warehouse.

Single sheet. Zustand: Very Good +. The very uncommon prospectus, issued by Heavy Industry Publications of Hollywood, circa 1971. Itemized on a large coated single sheet (22 1/2" wide x 18" tall) are all 12 of Ed Ruscha's now-iconic artist's books (up to this publication). Starting with "TwentySix Gasoline Stations" (1962) and running up through "A Few Palm Trees" and "Records", both from 1971. The large sheet has been folded into 1/8ths and has held up very well. Clean, bright and VG+, with neat, fairly unobstrusive creasing at the folds. The first 8 of Ruscha's artist's books, chronologically, have accompanying photos and they are: 1) TwentySix Gasoline Stations (1962); 2) Various Small Fires (1964); 3) Some Los Angeles Apartments (1965); 4) Every Building on the Sunset Strip (1966); 5) ThirtyFour Parking Lots (1967); 6) Royal Road Test (1967); 7) Business Cards (1968); and 8) Nine Swimming Pools (1968). And then, hand-stamped onto this prospectus: 9) Crackers (1969); 10) Real Estate Opportunities (1970). And finally, hand-written in ink onto this copy: 11) A Few Palmtrees (1971) and 12) Records (also 1971). Scarce, of-the-period (early '70s) Ed Ruscha ephemera.

Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. First Edition. First edition, first printing, and one of just 700 copies. Bound in publisher's white wraps printed in green. Near Fine, with light foxing at edges. In publisher's original glassine wrapper, Near Fine with slight toning and minor creases at flaps. A fantastic copy. The uncommon architectural monograph that exemplifies the post-war Southern California rental property construction boom.