Tomberg rare books e-list #27  View in your web browser
Women's Rights, African -Americana, Gay Rights, Civil Rights...
1. [AMERICANA] PROMOTIONAL BROADSIDE: COME SEE THE AMERICAN COW MILKER - Patented March 28, 1865... A Sure Cure for Aching Hands and Kicking Cows...

New York City: American Cow Milking Machine Co., [circa 1866]. Broadside: 8 x 9 1/2,” single sheet, printed on both sides in black on newsprint. Illus. Mild toning to extremeties with a light water stain at top center; a bright, clean example. Very good +.

Promotional broadside for The American Cow Milking Machine Company, soliciting agents for distribution with a 32-line poem about the milking machine with detailed instructions for use and several testimonials about its efficacy (from various dairymen, agricultural societies, and retailers). Verso states, “Full particulars on application to Martin S. Adams, South Royalton, Vt.” as the “Proprietor of Rutland, Chittenden, and Addison Counties.” Uncommon: OCLC finds six locations; none in commerce (2020).




Danger! Pornography??? “A Woman’s Liberation” / World’s Greatest Female Moment!

Np: Np: nd. [Ca. 1960s]. Original film poster. 27 3/4 x 41 3/4” orange poster with 1 inch white border. One vertical fold with three horizontal folds, three tiny holes (not affecting text), probably caused when removed a bulletin board and staples ripped out. Some chipping and small tears. Scarce. Not in OCLC.

This was an authentically documented film that was expertly researched for three years/consenting adults only/ X-RAY-TED/ “To all men and women who might be offended by the most complete understanding of carnal knowledge. Any adult entering this theatre does so on their own volition, free will and without recourse to the management of this theatre” (from poster). No holdings in OCLC.


3. [Research Alliance - Ku Klux Klan?]. Ship Them Back Home! Who? Every Illegal Foreigner. Uncle Sam Has Been Santa Claus for Europe and Other Foreign Countries Long Enough [cover title].

Atlanta: Research Alliance, [1936]. One sheet of paper folded (15.5 cm) to make 4 pp. Final page is an illustration depicting an immigrant kicking a native American out of the country. The illustration is reproduced on thicker stock with immigration statistics and form letter to Congressman on verso.

Although issued by the Research Alliance, this appears to be a Ku Klux Klan  front. The illustration is by Hiram Evans, the Imperial Wizard of the second-wave Klan from 1922-1939. Evans was stridently nativist and anti-immigrationist and was living in Atlanta when this tract was issued.

We also find a recent auction of KKK material with this pamphlet included. Slight toning to paper, else Fine.  We found no holding in OCLC.  



Political Handbill in celebration of ASSATA SHAKUR

International Day in Solidarity with Women Political Prisoners, Nov 2, 1990

Valencia, CA: Women Against Imperialism/The Out of Control Lesbian Committee to Support Women Political Prisoners, 1990. 8 1/2 x 11 inch, rose colored, original hand bill in celebration of the 11th anniversary of the escape of Black liberation activist Assata Shakur. Near fine. Not in OCLC.



Leb's Restaurants were the location of sit-ins during the Civil Rights era of the early 1960S in Atlanta, Georgia.


Atlanta:  [N.p.], [1960s].  9.5 x 16.5" menu with white cardstock covers and pink, blue and grey illustrations by Allen Palmer.  Staples to the top cover, attaching specials to the inside of menu.  Numerous pin holes at top edge, where menu assumed to be pinned within restaurant. Very good.

In the early 1960s, students representing Atlanta's six historically black colleges organized a series of sit-ins at area lunch counters to protest the city's legally sanctioned segregation. Local retailers subsequently agreed to negotiate with representatives from the recently formed student group Committee on Appeal for Human Rights (COAHR), but neither side evinced a willingness to compromise.

Protests expanded when negotiations stalled, and student leaders persuaded Martin Luther King, Jr. to participate in a bid for greater publicity. After more than a year of demonstrations and failed negotiations, members of the city's black political establishment met privately with white business leaders, and negotiated a settlement wherein area lunch counters would be desegregated after the court-ordered integration of city schools the following fall.

Although they protested the decision on campus, student leaders ultimately submitted to the settlement, and Atlanta's lunch counters were desegregated in September 1961.

Civil Rights Digital Library January 25, 1964.
-Uploaded on Nov 2, 2010

Interview with Charlie Lebedin, owner of Leb’s diner, in the aftermath of the destruction of his private property by Negro civil rights rioters.

“The streets were black with Negros…and the whites all ran out.  Mob scene here …they are climbing on tables and chairs.  We told the colored people we were locking the doors…they broke the tables, they broke the chairs, in the windows, singing and carrying on…refused to leave, urinated on the floor in bus boxes…running around and they wouldn’t sit down…


6. [WOMEN - ART]  Heresies - Group of 16 Issues, 1977-1992

New York: Heresies Collective, 1977-1992. 16 issues (14 issues are 8 1/2 x 11” and two are 10 x 12”). Illustrated bound wrappers; ca. 47-128pp. Publication sequence running as follows:

Issue #1, Issue #3 vol. 4 no, 6, Issue # 6 vol. 2 no. 2, Issue #7 vol. 2 no. 3, Issue # 8 vol. 2 no 4, Issue # 9 vol. 3 no. 1, Issue # 10 vol. 3 no. 2, Issue #11 vol. 3 no. 3, Issue # 12 vol. 3 no. 4, Issue # 13 vol 4 no. 1, Issue #14 vol. 4 no. 2, Issue # 15 vol 4 no 3, Issue # 17 vol. 5 no. 1, Issue #22 vol. 6 no. 2, Issue # 23 vol. 6 no. 3, Issue # 25 vol. 7 no. 2

Issues lightly edgeworn, with occasional chips along spine, scattered foxing and light staining. Overall in very good condition; Issue #14 has mild soiling and fading to wraps; Issue # 7 has some damage to back cover (some loss of photo).

HERESIES was an idea-oriented journal devoted to the examination of art and politics from a feminist perspective. The journal was published from 1977 to 1992 by the Heresies Collective in New York, which was a group of feminist artists who brought their different perspectives to the revolutionary New York art scene of the 1970s. Its first issue explains:

“We are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.” -- from Heresies, Vol. 1, No. 1, January 1977.

Members of the Heresies Collective took turns compiling and editing issues of Heresies. The rotating editorial staffs gave each issue of Heresies a different look and focus. Initial members of the Heresies Collective included Joan Braderman, Mary Beth Edelson, Harmony Hammond, Elizabeth Hess, Arlene Ladden, Lucy Lippard, Miriam Schapiro and May Stevens.



Signature of 450,000: This publication is a presentation of the 65th Anniversary Convention of the International Ladies' Garment Workers' Union, Miami Beach, Florida, May 1965.

New York: ILGWU, 1965. 64 pages. Compilation of photographs that tell the history of the ILGWU to commemorate the union's 65th anniversary. Original union receipt, showing purchase of this book, tipped in. Side-stapled with tanning to edges of back cover. Mild wear to front cover with a minute crease to the edge of the right upper corner; lower right corned and pages slightly creased as well, not effecting text. Circular stain on the letter "u" of title, not effecting readability, else very good.


8. [LGBT - Theatre]  I Want What I Want…to be a woman." Poster (1972) 

Original 27” x 40.5” illustrated poster for the movie,"I Want What I Want…to be a women.” Folded as issues.  Two minor damp stains to top rear, else near fine.

"A 20-something son of a military officer feels like a woman trapped in a man's body. When he can't hide it anymore he has a fallout with his ladies man father and leaves home. Now what?”

A story about a young man's slow transition into the woman he always knew he was meant to be. Roy/Wendy played by Anne Heywood takes the plunge, leaving her abusive father's house and starting life anew as a woman. Through trial and error she learns the skills and consequences of being a woman as well as the terrible problems involved in not being considered fully female

Starring Anne Heywood, Harry Andrews, Jill Bennet et al.  

OCLC finds two later DVD, (2011, 2018) - not sure if new poster accompanies them. But no original holding of this 1972 movie poster.



 Solid Rock Missionary Baptist Church (November 2, 1958) & 1976.

*BULLETIN-Solid Rock Missionary Baptist Church (November 2, 1958)
Oakland: Tilghman Press, 1958.  First edition.  7 1/2 x 8 1/2,” with black print on tan paper with a photo of the church and its congregation.  Chips and tears (not affecting text). Very worn with a vertical crease throughout.  Items include ministers’ names, Sunday School and evening worship schedule, missionary activities and special announcements. 

Solid Rock Missionary Baptist Church [Bulletin] - August 29, 1976.
Oakland: N.p., 1976.  Approx 7 x 8 1/2”  - black type on yellow paper, folded.  Wear with minor chips and small tears (not affecting text). Includes information on morning and evening worship schedules with acknowledgements on the back cover.  Also has a pink colored paper insert of approx 5 1/2 x 8” [4pp], with response readings, a list of offerings, the words for O For A Thousand Tongues and I Can Do All Things.The back cover has a list of the sick and shut-in.  

The second insert 5 1/2 x 8” has a faded stamp from Reid’s Records in Berkeley - two pages, detached of the music and words to, “I’d Rather Have Jesus” in two arrangements. solo…male voice.  Faded, worn and fragile, good.- good.


10. [RIOTS] [SITUATIONISM] [Herbert Marcuse]


Np: 1970. 8vo., [8] pp. [including covers], offset printed in b/w; unbound, folded sheets. Folded once, with some creasing and toning; very good.

Copies of this pamphlet, attributed to Herbert Marcuse, began to surface in the wake of the Watts riots. Marcuse vehemently denied authorship, and the pamphlet was probably written by the early California Situationist group 1044. The pamphlet ends with the assertion that "Humanity won't be happy until the last bureaucrat is hung with the guts of the last capitalist." According to some sources, 700 copies were distributed; it is now rare. OCLC locates only two holdings in the U.S.


11. Brothers: The Men of Sierra Domino

Sierra Domino, Craig Calvin Anderson

San Francisco: Sierra Domino Studio, 1974. [14p]. Including, front cover, 10.5x13.5 inches, printed recto-only, b&w, full-frontal nude photos of African American men, bound at top with cloth tape, backed with heavy cardboard rear cover, light wear otherwise very good. No copies in OCLC or in trade.  

Very early publication by the San Francisco gay photography studio, which was founded in 1974.



Gayle Young was a principal dancer with the American Ballet Theater for twenty-one years. He partnered with leading ballerinas, such as Margot Fonteyn, Sallie Wilson, Marcia Haydee, Lynn Seymour and Cynthia Gregory. Young danced lead roles in “Giselle,” “Swan Lake,” “Coppelia” and the “The Nutcracker.”

Young studied dance with Dorothy Prince while he was a student at the University of California at Berkeley. He also taught dance at the State University of New York at Purchase for 16 years and staged ballets for companies throughout the world. Young died at the age of 63 after teaching the world to dance.

Overview of Collection:

Included are approximately 63 Ballet Programs, most are 9 x 12 inches, dating from the late 1940's through the late 1990's. Most represented are the American Ballet Theatre and the Ballet Theatre. One of the programs is signed but most were kept as souvenirs of performances Young danced in or attended.

Numerous ballet companies are represented: Houston Ballet, The Bolshoi Ballet, London Theatres, Royal Danish Ballet, Boston Ballet portfolio, Denver Civil Ballet, Dance Company from Moscow, Houston Sadler’s Wells Ballet, Milwaukee, Leningrad Kirov Ballet, Agnes De Mille Dance Theatre and the Stockholm Ballet. Most of the programs are from the 1950's and have interesting mid-century themes and motifs. There are also anniversary editions and theatre annuals.

Included is a revised (9/95) Student and Faculty Handbook from Dance Division/School of Arts at Purchase College, where Young taught until his death in 1998. Most of the programs are in very good to near fine condition, with the exception of 3 or 4 which are separating from staples and without a cover. Spanning fifty years of American and International theatre.

Included in Young’s book collection is his personal copy of THE CLASSIC BALLET, which is inscribed to him from “Libby” at his 1953 graduation. Another book contains the original invoice by Greenwood Publishing Group, Westport, CT with a note that this is a “free copy due by contract. As author/contributor on future purchases you are entitled to a 40% discount...” One book was sent to Darryl Dodson after Gayle's death with a personal note from the publisher.

The complete lists of books:

1. Tchaikovsky And His Contemporaries: A Centennial Symposium/Prepared under the auspices of Hofstra University. Westport, CT: Greenwood Press, 1999. 6 1⁄2 x 9 1⁄2 inches. 418 pp. Blue boards with gild engraving. Lacking dust jacket, if one was issued, mild wear, very good.

2. A Very Young Dancer by Jill Krementz. New York: Alfred A. Knopf, 1976. First edition with moderate wear to dustjacket. 9 x 12 inches. Unpaginated with black and white photographs. Good.

3. The New Ballet by Kurt Joos. London: Dennis Dobson Limited, 1946. 8 1⁄2 x 11 inches, 156pp with black and white photos and colored illustrations. Dust Jacket in good condition, with many chips. Text is very good plus.

4. The Classic Ballet: Basic Technique and Terminology. New York: Alfred A. Knopf, 1952. 10 1⁄2 x 8 1⁄2 inches. Brown boards, 243 pp. Edges worn

along with bottom and top of spine. No dust jacket, if ever issued. Good plus.

5. Die Wiener Oper: 350 Jahe Glanz und Tradition. Wien: Ueberreuter, 1986. 9 x 10 1⁄2 inches. 276 pp. Dustjacket has mild wear, text near fine. Photographs throughout.

6. Het Nationale Ballet. Amsterdam, Het Nationale Ballet, 1987. 11 x 8 inches, 383 pp. Hard glossy boards with cover on photograph, title in red. Mild wear to boards, else near fine.

7. The Manual: A Manual of the Theory and Practice of Classical Theatrical Dancing/ Cecchetti Method). London: C.W. Beaumont, 1977. 273 pp., 5 1⁄2 x 8 1⁄2 inches. Revised edition. Soft covers with moderate wear, still very good.

Theatre Collection offers a view into the classic years of American professional dance and the changes that occurred from the mid to late 20th century.


13. Citizenship Education Program

Southern Christian Leadership Conference

Atlanta: SCLC, [circa 1963 - 1965]. Six-panel brochure, fine condition, portrait of Martin Luther King Jr. on rear panel with his assessment of what makes a first class citizen.

The brochure introduces the program, which took basic literacy as its primary goal, but also sought to offer instruction in other aspects of community life. Includes an application form for those wishing to be trained as teachers in the program. Undated, but early 1960s. Dorothy Cotton is listed as the contact for submitting applications.

King's statement on the rear panel concludes, "All over the country there are adults who are not registered to vote, and who generally do not participate in their civic affairs. These persons are not full citizens. Many of them have not had an opportunity to learn what is required of first class citizens. These people need Citizenship training."



MARCY, Sam (& others)
The Subways Belong to The People! ...they should be free.

New York: World View Publishers, [1970]. First edition. Staple-bound pamphlet; pictorial wrappers. 22 pages. Near fine. Three articles by Sam Marcy and others, extracted from Workers World for January 10-29, 1970. A response to increase in New York City’s subway fare. Only three holdings in OCLC.




Np: [1984]. The rare original poster for U.S. movie. 40 x 27 inches. Folds three times. Fold lines visible. Minute hole at vertex of fist fold, else very good.

This documentary by Greta Schiller takes a look at the hidden, repressed, and often times denied history of gay America in the days before the famous Stonewall riots, and once and for all break the gag order polite society had placed on the third sex.

Released in 1985, it helped put a halt on the notion that homosexuality was a product of societal moral decay, a tactical assertion gay rights opponents would sometimes try to insinuate based on a supposed lack of overwhelming historical evidence to the contrary.

This groundbreaking documentary offers an array of photographs, films, and songs that offer testimony to the presence of a thriving gay subculture. Not in OCLC.


Women & Imprisonment in the United States: History & Current Reality.

Philadelphia: Monkeywrench Press / Industial Workers of the World, [1995]. First Edition. Brief work on the history of women's prisons in the United States, from their emergence in the early 19th century through the present day. Scarce work by Kurshan, one of the founding members of the Youth International Party and a staunch advocate for prison reform.

None in commerce (2013), with OCLC noting 5 institutional holdings. Slim octavo (21.5cm); black and white photo-illustrated wrappers; 32pp. Faint, shallow dampstain to upper right corner of first 3pp, else Near Fine.


This photographic album is a record of a pioneering social program by the ACIP.

17. [ACIP] [Social Programs] Ollie A. Randall’s Photograph Album for Ward Manor; the Old Folks Home and Youth Camp of New York City’s Association for Improving the Condition of the Poor

Annandale-on Hudson, New York: Np, 1930. Album 13 x 15 1/2.” Burgundy boards with black tape reinforcing the spine; gilt lettering. Wear and scratches to boards with right top corner loss (approx .5 x 1”), else very good. 40 pages with 83 black & white photos, ranging in size from 3 1/2 x 5” to 10 x 7 1/2.” Each photo with title and typed description. 3 photos missing but description remains.

Included is a two page spread, entitled Places of Friendliness, which gives a detailed account of Ward Manor and what goes on there. On the last page is a map of Ward Manor, measuring 8 1/2 x 13.”

In 1926. William Boyd, the owner of a baking company, purchased a large grey stone building and the surrounding land near Annandale-on Hudson and donated it to the Association for Improving the Condition of the Poor (ACIP), which, in turn, used it to create “a welcoming place for poor people to spend the last years of their lives.”

Eventually the ACIP bought surrounding properties and, not only expanded the number of elderly rooms, but also created a summer vacation resort for semi-employed adults and a summer camp for impoverished children.

Ollie A. Randall was the director of Ward Manor from 1926 until 1945. Ward Manor is now a part of the campus of Bard College.

A unique photographic record of an important, innovative and pioneering urban Social Program.


18. HEAD, Robert & Darlene Fife

Copkiller #One (January 1968)

New Orleans: N.p., 1968. 5.5 x 8.5 inches. This New Orleans magazine is notorious for its title, but it is now a collector’s item due to the inclusion of Charles Bukowski’s poem, “The Status of Q for Me and Yew,” which happens to be one of Bukowski’s scarcer appearances. Douglas Blazek is featured as well.

What makes Copkiller so fascinating and special is the list of contributors that include their addresses. There is Bukowski at 5124 Delongpre Avenue, Nuttall at 6 York Street, Margaret Randell in Mexico. This was cutting edge as each author, basically says, F-You at the literary and other police and then punctuates the statement by defiantly looking them square in the face and addressing them: “Serve your warrants, send your dogs, you know where you can find me!”


19. [Barber Shop Quartets] Collection of Ephemera from the Travel-Tones

Barbershop harmony has played a central role in the panorama of American music. This kind of singing originated in the late 1800s and early 1900s of America, a hybrid of both black and white expressive cultural forms at the time.

The African American influence is sometimes overlooked, although these quartets had a very formative role in the development of this style of singing. Popularity of the style faded in the 1920s and was revived in the mid-20th century with help by the Society for Preservation and Encouragement of Barber Shop Quartet Singing in America, founded in 1938.

The Barbershop revival movement helped to shape a mythologized vision of the turn-of-the-century small town America. At its core is an implicit theme of innocence, alienation and redemption, and it constituted an attempt to recapture a lost structure of feeling (Averill, 4).

Singing the “old songs” motivated by a commitment to “old- fashioned values” was a means of invoking this loss, and inviting a new feeling (nostalgia) as a dominant mode of cultural production. Barbershop is thus a vernacular music, turned into a heritage for a certain proportion of white middle-class Americans (Averill 5).

Various places: 1965-1990s.

3 ring binder, from a member of the Travel Tones, containing the following:
*23 thank you notes, some handwritten in original envelopes, from various organizations -17 newspaper articles on the Travel-Tones -27 black and white, and colored photographs of Travel-Tones in varying sizes
*8 programs
*2 program menus

*3 postcards
*12 strips of negatives
*4 business letters
*2 notes of performing
*A letter for official registration cards as members of a registered Society Quartet (membership card included)

*21 pamphlets of the Pitch Piper, November 1991-October 1996.
Saint Paul, MN: Dick Teeters, 1991-1996. 23 pp. A pamphlet describing all that is happening in the Barbershop Quartet music scene, including contests, administrative issues, Thank you section, scoring summaries, conventions, registration
forms, anniversaries, memoriams, advertisements.
*5 issues of The Seventy-Niner, May 1963-January 1966. Duluth, Minnesota: Fraternal Order of Eagles, 1963-1966.
*9 programs/concerts presented by Duluth/Superior HarborMasters Chorus, 1980-1993. -9 differing programs of other Barbershop Quartet programs, varying sizes, most 5 x 8.”
*42 various other Barbershop programs and music for shows, including a few Barber Shop Songs for Men. 1963-1980s.

Binder of the RULES AND REGULATIONS HANDBOOK for the Society For the Preservation and Encouragement of Barber Shop Quartet Singing in America. Wisconsin: [The Society], 1990. 8 1⁄2 x 11 inches. 63 pages, stapled, very good.

*10 issues of The Harmonizer (1991-1993), the official publication of the Barbershop Harmony Society.


20. [WOMEN] The Sisters of Perpetual Indulgence, illustration by Jeske. These people cancelled our annual Easter Celebration...hey kids, let’s CRASH their party! [handbill]

San Francisco: The Sisters of Perpetual Indulgence, 1996. 8.5 x 11 inch handbill printed recto only. Black ink on yellow stock, depicting a Sister with arms spread in supplication. Mild creasing, else very good. No holdings in OCLC. None in trade (2015).

Smash the Church - These anarcho-campist Sisters of Perpetual Indulgence were at it again! If they can’t dance, they will mess up YOUR sacrament! No love lost between the Church and the Sisters, who won the right to celebrate their 20th Easter Sunday anniversary in 1999 on Castro Street over the protests of the Catholic Church. “It is our holiday too!” Neighborhood business groups had forced the cancellation of a campily sacrilegious Easter event the Sisters had planned, so they proposed crashing the “official” Eureka Valley Easter Picnic.

The Sisters of Perpetual Indulgence is a charity, protest, and street performance organization that uses drag and religious imagery to call attention to sexual intolerance and satirize issues of gender and morality. At their inception in 1979, a small group of gay men in San Francisco began wearing the attire of nuns in visible situations using high camp to draw attention to social conflicts and problems in the Castro District.

Members include people who identify with a variety of sexual orientations and genders, although the majority are gay men. Using their attire to parody nuns and religious sacrament, some actions of the Sisters have gone farther to offend Catholics. Starting in 1995, the Sisters began a Castro Crawl on Easter Sunday to celebrate their anniversary. The event features a 13-stop pub crawl that parodies Stations of the Cross. At each station in front of a gay bar or similarly affiliated organization, the Sisters call out "We adore thee, O Christ" to be answered by their traveling audience in "Luvya, mean it, let's do brunch"




Sponsored by Church Women United - Loveland, New York, NY: Church Women United, 1972. Original 8 1/2 x 11 conference folder, illustrated covers. Individual papers/notes on what would be covered during the conference group sessions. Last page is a typed list of all the participants. Mild sunning to cover edges, else near fine. Only 4 holdings in OCLC.



22. [ART] LMNOPi (artist) RISE UP! WE ARE THE 99%

Brooklyn: LMNOPi, [2012]. Silkscreen poster. 12 x 18”. Original design for OCCUPY WALL STREET (OWS). Signed by artist. Not in OCLC.



Brooklyn: LMNOPi, [2012]. Silkscreen poster printed on recycled paper. 25 1⁄4 x 12 3⁄4” From a drawing of an OWS activist by an OWS activist. Signed by artist. Near fine. Not in OCLC.


11 1/2 x 17 1/2" original posters.  Collection of seventeen Roller Derby posters from the Bleeding Heartland Roller Derby team.  Near fine.

Roller Derby is unique as a sport , as a structure and as a social phenomenon. Over the last three decades, a new evolution in women's athletics has been taking hold across the United States. Fueled by adrenaline and dedication, with roots back to the early 20th century, women's roller derby is making a frantic comeback on a grass-roots and national level. State to state,  leagues are forming for the love of the skate. Skill and devotion set the pace for an exciting and empowering display of athletic skill and prowess in a physically aggressively all-women sport.

These leagues are skater-owned and operated with a do-it-yourself attitude.  Skaters wear fishnet stockings, short skirts and mad makeup.  The sport combines punk rock aesthetic, pin-up pulchritude and athletic ability all in one.  These are big events brought to the masses by entrepreneurial-minded women running businesses while also venturing into a new game.

The famed artist Robert Williams coined the term "lowbrow" 'to describe the American Art Movement that was taking place in the late 1980s and early 1990s.  When Williams started Juxtapos Art & Culture Magazine in 1994, his purpose was to unearth underground and outlaw artists like himself. 

This new art movement shunned the conceptual and abstract, embracing art school groupthink.  Instead, it was inspired by B-movies, horror and science fiction films comic books, tattoos, hot rods, pin-up art and pop culture. Roller Derby embraces the same ethic and values held by Williams.  Its DIT spirit, which might not be generally accepted in mainstream, thrive in RD art.  RD can be considered an offshoot of an already thriving subculture and it continues, as does lowbrow to seep into mainstream.

The Women's Roller Derby Collection contains a large range of artistic styles: horror, punk music, 60s advertising, underground comics, classic B-movies.  Other influences include surrealism, politics, photorealism and Saturday morning cartoons, art of the 1980s, cereal box art, MAD magazine, "dark designs," tattoo and hot-rod inspired works.  Visual cues from the past infused in a new modern sensibility - using the familiar with the new create a sort of revisionist visual history and mystique for roller derby.

PROVENANCE:  From Artist's Matt Traughber's personal collection.



25. [WOMEN]  BEAL, M.F. & friends
Safe House: a casebook study of revolutionary feminism in the 1970’s

Eugene, Northwest Matrix, 1976. 154 pp, line illustrations and a few clips reproducing SLA publicity images, inscribed “To the day men abandon violence and every woman’s house is safe, M.F. Beal.” First edition 9 x 6” decorated wraps, slightly shelf worn. There is a colophon, which states, among other things, that “The SLA portraits and calligraphy were by Mary Ann Tharaldsen of Berkeley.” Printed by a woman owned press, Long House Printcrafters.


Hun or Home? Buy More Liberty Bonds [poster]

Chicago : Edwards & Deutsch Litho. Co., [1918]. 19 1⁄4 x 29 3⁄4.” Original, color lithograph poster. No. 9-B. Printed in black and red on an ochre background. Small, closed tear (1”) at top edge (not affecting text or illustration), else near fine.

The USA entered the First World War in 1917. It established a system for the general population to make financial contributions to the war effort in the form of Liberty Bonds, the equivalent of the British War Bonds. Tales of atrocities, such as rape, child murder and mutilation and abuse of soldiers' bodies, were behind many of the images for such posters.

In this example, the German soldier, identifiable by his spiked helmet, looms up like an ape toward a female figure. The imminence of horror is intensified by the fact that she is clutching a baby and seems, by her pigtail and short skirt, to be merely a girl.



27. [Education - Music] ARMITAGE, M. Terersa.  The Laurel Music Series: Folk Songs and Art Songs for Intermediate Grades (2 volume set)
Boston: C.C. Birchard & Company, 1924. First edition.  6 1/4" x 8 3/4." 140 & 156 pages.  Tan wrappers with brown print over brown boards. Interiors clean.  Handwritten name on inside of front cover: May C. Dixon.  Unusual to find in set.




Lancaster, Pa. : Press of the New Era Print. Co., 1914. First edition.  6 x 9,” 14 pages with illustrations.  Brown wrappers, side-stapled.  Includes the managers, constitution, by-laws, copy of application for admission to the home, testimonials and a partial list contributions and bequests to the Home.  Rare. Only three holding in OCLC.  None in trade as of June 2020.

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