Tomberg rare books e-list #23   View in your web browser
Features: African Americana, Anarchist titles, Drugs, Women's rights, Alternative Movements, American culture.  Thank you for your time and consideration.  Enjoy!

1.  [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 three holdings.




Np:, [1975]. 6 x 9 inches. Staple-bound pamphlet. Pictorial wrappers; 72 pages. Illustrated. Very good.

Manifesto of the August Twenty-Ninth Movement (M-L), calling for an independent Chicano state on Marxist-Lenninist principles and demanding the return of Mexican terriories seized by the U.S. in the war of 1846-48. A seminal work of the Chicano rights movement. Uncommon in trade.


3.  [GLBT] [GAY MEN’S THEATER COLLECTIVE] [photography by Joey Knutson]

CRIMES AGAINST NATURE: a play by faggots about survival

San Francisco: The Collective & Gumption Theater, 1977. 14 x 11 1/2 inch poster for the original production featuring a b&w photo of the cast behind a chain-link & barbed-wire fence.

Poster for the theatre-piece created from oral-histories and confessionals. Back in 1977, when gay liberation was still fairly new and gay-identified theater was just being born, the Gay Men's Theater Collective sparked something of a theatrical revolution with the confrontational style and confessional content of its collectively created "Crimes Against Nature."

Widely regarded as one of the seminal gay theater productions, "Crimes" played for nearly two years in Santa Cruz, Toronto and New York. The impact of AIDS is particularly evident, and not just in its absence from the pre-pandemic monologues. Six of the 11 original creators and performers - Charles Solomon, Greg Kollenborn, Timo Lupine-Child, Tommy Pace, Anthony Eschbach and Martin Worman - have died of the disease in the intervening years." Robert Hurwitt, SF Examiner. Very good or better. Not in OCLC.




Np: np., 1978. Die-cut blue and white poster featuring a denim-clad tush, edge at right cut out to follow its contour. Fine condition.

The April 1978 issue of Body Politic, Apr 78 p. 9, announces that April 14 will be National Blue Jeans Day according to the National Gay Task Force in the U.S. The National Gay Task Force (later renamed The National Gay and Lesbian Task Force) had a major influence on the gay politics of the 1970s. Not in OCLC.



11 X 17 1⁄2” black and white offset lithograph backed on linen. Corners inserted into tape guards attached to linen. Staining to top edge (not effecting lettering or illustration). Bands playing: Jimmy Carl Black and the Grandmothers, Dill Pecker and the Sour Cream, Ten Hands, Fur Dixon, Rosie Flores and Highwaymen. Very good plus.

Greenpeace advocated the global phase-out of polyvinyl chloride (PVC) commonly known as vinyl. It is one of the most widely used types of plastics for packaging, home furnishings, toys, medical supplies and hundreds of other products. This plastic is one of the most toxic substances saturating our planet and its inhabitants. Louisiana has the highest concentration of vinyl factories in the U.S. Pollution from factories threaten the health and environment of residents.

As a result from local communities and Greenpeace, Shintech, a major company, was stopped from building a $700 million PVC facility in Content, L.A. Non-violent direct action was employed to pressure governments and industries.



Np: np, 1971. 12 x 18.” Near fine. Jim Franklin is a seminal Austin artist from the 60’s and on. He popularized the armadillo as the hip counter-culture alternative to the Texas Longhorn. Armadillo’s became the iconic symbol for those not enamored with the Texas political establishment. Besides an astonishing array of music and event posters, Franklin has many gallery shows and is collected as a fine artist. Not in OCLC.

Provenance: From the private collection of Jeffrey
Shero Nightbyrd, editor of The Rag newspaper in Austin, Texas, The SDS newspaper, New Left Notes, in Chicago, RAT: Subterranean News in New York City and The Los Angeles Free Press.


ADOPT A FREEDOM SCHOOL:  Prospectus for a Summer Freedom School Program

Jackson, Mississippi:  Council of Federated Organizations, [1964]. 6 mimeographed pages.  8 1/2 x 11." Single stapled to upper left front cover.  Near fine. 2 holdings in OCLC (2017), none in trade. 

Freedom Schools, found mostly in the South, were an alternative free schools for African Americans. This prospectus is designed specifically for the Mississippi Freedom Schools, developed as part of the 1964 Freedom Civil Rights Project. Over the course of Freedom Summer, more than 40 Freedom Schools were set up in black communities throughout Mississippi. The purpose was to try to end political displacement of African Americans by encouraging students to become active citizens and socially involved within the community.


8.  Defense training and jobs for Negroes. Our war-time responsibility and opportunity
Washington DC: Washington Council, National Negro Congress, 1942. Pamphlet. 13p., wraps, paper slightly browned, some creasing else very good condition, 8.5x11 inches, mimeographed. Introduction by Rev. M. Cecil Mills. The Congress in this period was heavily influenced by the Communist Party.  Only one holding in OCLC (Temple Univ).


9.  [AFRICAN AMERICANA] 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.

This 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."


10.  [ANARCHISM]  The Original Mailing List of the Libertarian League, 1954

New York, NY: Unpublished, 1954-1955.
Over hundreds of 3 x 5 cards, contained in the original 12” (l) x 12” (w) x 5” (h) metal box belonging to Sam Dologoff, founder of the Libertarian League. A list from last names M -Z of the members of the League, including addresses. A one of a kind relic from the short-lived, anarchist Libertarian League.

The Libertarian League was founded in July 1954 by a group of anarchists, Russell Blackwell ((long time revolutionary aka Rosalio Negrete), Sam and Esther Dologoff (aka Weiner - long time anarchists and I.W.W.), Murray Bookchin (former Communist Party, former Trotskyist, then anarcho- communist), Dave Van Ronk (folksinger, IWW affiliated, Trotskyist), and Enrico Arrigoni (Stirnerite anarchist). The League never had too much of a presence outside the NYC area though there were small groups in a few midwestern industrial areas, including Detroit. Many of the other people around the League were, like Arrigoni, veterans of the anarchist movement in other countries - some were here illegally under pseudonyms. Members of the Libertarian League were expected to also belong to the IWW. Most Wobblies were anarchists anyway but this code ensured that there would always be an anarchist presence in the IWW.

There was no money to establish their own center and the founders were in desperate need of a place where they could hold meetings, forums, socials and dispense literature. The LL was rescued by the solidarity of their Spanish comrades in Cultura Proletaria, who offered to share their center.

With an increasing nationwide interest in anarchism, a number of young people joined the LL. The round-table discussions were all spontaneously participated and were far more effective than organized forums, where speakers talked at the people. But these discussions necessarily confined to a narrow circle, inhibited the expansion of the group. The LL gradually faded away as people aged and fewer young people joined. By 1966 they were out of business.

This mailing list includes not just anarchists but just about any one that had expressed an interest in the journal VIEWS AND COMMENTS OF THE LIBERTARIAN LEAGUE or the League. The founders were always loathe to take someone off the mailing list so this can be considered the complete, official mailing list of the Libertarian League.

Provenance:  Dologoff moved out of NYC and sold his apartment to a friend and fellow anarchist, Bill Goring. Dologoff had left the mailing list in his apartment and told Goring that anything left behind was his. Goring is currently a book dealer and colleague, and the mailing list was among his inventory.

$1000 + shipping



Living With Chris  (Cover: Joe Brainard)
[NY)]: A Boke Press Publication, 1968.  4to, original stapled pictorial wrappers.  First edition, mimeographed. Fischer p. 26.    
“The ‘Chris’ is not the Chris of The Sonnets.  It is Christina Gallup, the daughter of Dick and Carol Gallup, for whom Ted was babysitting when he wrote this poem.” (Fischer 26).                            


12.  BRAINARD, Joe and Kenward Elmslie

[New York]: [Boke Press], [1965]. First Edition. 4to. Tape-bound, side-stapled mimeo wraps.  Some soiling and toning to wraps, else near fine.
First of many published Brainard/Elmslie collaborations. One of 500 copies. This copy unnumbered and apparently out-of-series.  


13.  BRAINARD, Joe

(N.Y.:Angel Hair Books, (1973).  First edition. One of 700 copies.  The third in Brainard’s I Remember series.  

Influenced by Stein’s repetition and by Warhol’s repeated-image paintings from the early 1960s . . . the repetition worked as a springboard for Brainard to leap backward and forward in time and to follow one chain of associations for awhile, then jump to another, the way one’s mind does.  Coupled with his impulse toward openness, the “I Remember” form provided a way for him to lay his soul bare in a collaged ‘autobiography’ that is personable, moving, perceptive, and often funny, with a mysterious cumulative power. 

In May 1969, Brainard told Anne Waldman: “I am way up these days over a piece I am still writing called ‘I Remember.’  I feel I am very much like God writing bible.  I mean, I feel like I am not really writing it but that it is because of me that it is being written.  I also feel that it is about everybody as much as it is about me.  And it’s a nice feeling.” –Padgett, Joe, pp. 144-146.  On November 14, 1969, Brainard wrote to Waldman again: “What I really like is for you to print it … or for you to let me read it as a reading at the church.  If you should want to print it I can pay the expense.  But even more than that, what I would really like is to read it.” – The Angel Hair Anthology.  Edited by Anne Waldman and Lewis Warsh. (N.Y.: Granary, 2001), p. 576.                       



14. DI PRIMA, Diane (Editor)
New York/San Francisco: The Poets Press [November] 1967.  Cover by Michael Bowen. 24pp.  Two sides, single sheets secured with two staples.  A bit of yellowing to extremities.  Small stain (coffee?) to three pages. 

This issue features “Newark Black Survival Committee” by LeRoi Jones [Amiri Baraka], along with contributions from Jack Kerouac, Jack Spicer, Keith Wilson, Gary Snyder, Stuart Perkoff, Rajkamal Chowdhury, Lorenzo Thomas, George Stanley, Frank O’Hara, Johannes Koenig, Yukiko Matsuda, Yu Suwa, Atsushi Sekiguchi, Philip Lamantia and David W. McKain.

The Floating Bear was one of the most influential mimeograph magazines published during the 1960s.  Edited by LeRoi Jones [Amiri Baraka] and Diane Di Prima, its pages featured many of the beat poets such as William Burroughs, Allen Ginsbeg, Charles Olson, Robert Creeley, Ed Dorn, Wallace Berman, as well as many of Andy Warhol’s Factory regulars. This “newsletter” was unique among the multiple mimeographs because of its distribution. Floating Bear could not be bought over the counter but rather distributed through a special mailing list that consisted of a certain group of poets, artists, bookshop owners, reviewers, and critics. Receiving a copy meant you were part of a literary and artistic community. Copies were hand addressed, folded for mailing, or contained a mailing label and stamp.

Our copy has not been folded and lacks a recipient.  This may perhaps be one of the editors’ personal copies. The magazines were stained or poorly mimeographed, but that is a large part of the charm of Floating Bear, according to Jed Birmingham, editor of Mimeo Mimeo, contributing editor to and author of its column, Bibliographic Bunker.  In Birmingham’s study of Floating Bear, he comments, “You can see that these magazines were used. They were argued over, read aloud, passed around.”  Leroi Jones left as editor with Issue 25, and Diane Di Prima took over full editorial duties. You can see the geographical shift from New York to California as well. Herms, Jess, and Berman were all active in the California art scene that moved between Los Angeles and San Francisco. Billy Linich otherwise known as Billy Name, the man who made Warhol’s Factory silver, assists with a few issues after Jones’s departure. This suggests Floating Bear‘s links to the speed culture of the New York art scene in the 1960s. FB served as an important venue for the poets of the Beat and New York schools, as well as other experimental and avant garde writers of the decade.  



15. [ANARCHISM] A2 ANARCHIST GROUP (Design, print, distribution).
Revolutionary Praxis is the Enemy of Revolutionary Ideology and Knows It

Ann Arbor: A2 Anarchist Group, [ca. 1974]. Original flyer. 8 1/2 x 11 inch photomontage in red and blue on pale green stock offset, typescript on verso. Near fine. Very rare in both commerce and institutions with no copies in OCLC. A copy in IISH, part of the Steef Davidson collection of posters illustrated on their website.

A2 describe this as “The first leaflet done on our press; the second pro-situ leaflet we published.” A collage of the marques of various radical newspapers such as ‘Workers’ Power,’ ‘Yipster’ is accompanied by a photograph of Stalin’s broken statue head from the Budapest insurrection in 1956. In turn, Debord’s Thesis 124, from Society of The Spectacle is below in red with the substitution of ‘theory’ for ‘praxis.’

The bottom right corner has two appropriated vignettes of Dr. Seuss’s archetypal pranksters Thing 1 and 2 with an incomprehensible equation below. The typed note adds that “This is the first copy. Nick [Totton], ever sent to the U.K. that I know about—-for whatever that’s worth!”


16. [DRUGS] CAMPBELL, Nancy D., JP Olsen, Luke Walden. 
THE NARCOTIC FARM: The Rise and Fall of America's First Prison for Drug Addicts

New York: Abrams, 2008.  8 x 10 1/4."  Unpaginated.  Inscribed by JP Olsen to "Peter-/I hope you /enjoy this, a /most unusual /American History./ Hardcover with pictorial dust jacket.  Minor wear to DJ in upper left corner, else near fine.  Internal text, near fine. 

The Narcotic Farm: The Rise and Fall of America’s First Prison for Drug Addicts documents the visual history of this unusual federal prison set up to find a cure for addiction. Featuring more than 150 photos and images, culled from more than two dozen federal, state and local archives, The Narcotic Farm includes accompanying text by filmmakers JP Olsen and Luke Walden and Dr. Nancy Campbell, an associate professor of the history of science at Rensselaer Polytechnic Institute.  No holdings in OCLC; 6 universities have a copy of the article that appeared in the journal ADDICTION, 103, no. 11 (2008).

Providing a wealth of revealing photographs and documents that reveal what it was like to be a junkie in the mid-twentieth century.
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. Very early publication by the San Francisco gay photography studio, which was founded in 1974.


[New York]: N.p., 1975.  8 x 11," black and white AP Wire-photo of John Lennon and Yoko Ono arriving for the Grammy Awards Dinner.  Date and notes on front and back. Moderate wear with minor creasing at edges, else very good.  Lennon and Ono walking into New York's American Hotel to attend a dinner preceding the 17th Annual Grammy Award Show.  Lennon is scheduled to perform during the program in which the National Academy of Recording Arts and Sciences pay tribute to recording artists.

19. [Social Programs]  [ACIP]  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.



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.




“War is obsolete because there can be no winner” – President Johnson, 1964

Ann Arbor, MI: Ann Arbor Women for Peace, [1960s]. Original, 8 1⁄2 x 11 flyer, folded vertically once to produce 5 1⁄2 x 8 1⁄4 inch anti-Vietnam War booklet. Some minor staining, else very good.

A group of wives of the anti-war faculty at Michigan established their own group: Ann Arbor Women for Peace. These indomitable ladies organized demonstrations, rallies, and vigils, collected baby teeth to test for radiation, sent valentines to public figures who spoke out against war, distributed origami cranes for Hiroshima Day, were evicted from the local Veterans Day parade for carrying peace signs, and refused to be intimidated when questioned by HUAC. Not in OCLC.



22. [Women] [REDSTOCKINGS]

Press release: Redstockings discloses Gloria Steinem's CIA cover-up.

New York: Redstockings Women's Liberation Archives, 1975. 16p. tabloid newspaper format brochure, folded horizontally, mild foxing and edgewear. Redstocking's case about Steinem's role in the CIA-front Independent Research Service throughout the 1960s. Random House omitted these portions when it released its Redstockings anthology. Two holdings in OCLC.



Washington, D.C.: League of Women Voters, 1947. Original, 5 1/2 x 8 1/2” stapled pamphlet. 24p. Wear and chipping with extensive pencil notes on the cover, interior and back, very good. Three holdings in OCLC (2 in the U.S.) with none in trade (2015).

This memo was published to assist League members in carrying out the program of the League of Women Voters in the U.S., adopted by the representatives of the members at the biennial convention of 1946. Only two OCLC holdings in the U.S. and one in Paris. Uncommon.


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.


NO MORE WAR [poster]
Austin, Texas: Jagmo Art & Design, 1991. Original, hard-to-find color poster. 8 1⁄2 x 11 inches. Art by JAGMO - Nels Jacobson. Near fine. Jagmo is an important figure in the Texas poster renaissance. Incredibly prolific, and thoroughly professional, he was in constant demand by club owners and bands. Jagmo produced memorable images for over 150 bands and dozens of clubs and events. His work cataloging, and writing about Texas poster art has contributed to Texas poster art’s value and collectability. “Jagmo's posters, such as his iconic Stevie Ray Vaughn image, are among the most sought after in America.”- Jeff Nightbyrd. Not in OCLC.

Provenance: From the private collection of Jeffrey Shero Nightbyrd, editor of The Rag newspaper in Austin, Texas, The SDS newspaper, New Left Notes, in Chicago, RAT: Subterranean News in New York City and The Los Angeles Free Press.


26. STOP NUCLEAR TESTING - Nevada April 10-19, 1992

Be the 100th MONKEY! [POSTER]

Nevada: Wendy Hale Design, 1992. Original poster. 8 1⁄2 x 11.” The 100th Monkey Project, Nevada, USA. Near fine. This poster is from a gathering in Las Vegas, Nevada, 65 miles south-east of the Nevada Test Site, to hear international speakers and musicians inform, inspire, and demand an end to nuclear testing. This was followed on April 13th by a five day walk to the test site. The walk was followed by a nonviolent direct action at the test site on Earth Day (19 April). The purposes of the event is to stop nuclear testing through world awareness, political pressure, direct action; to educate through media exposure and a full-length feature movie to be made of the event; to expand the nonviolence ethic through mass non-violence trainings in conjunction with the event, and; to return the land to its true stewards: The Western Shoshone Nation. Not in OCLC.

Provenance: From the private collection of Jeffrey Shero Nightbyrd, editor of The Rag newspaper in Austin, Texas, The SDS newspaper, New Left Notes, in Chicago, RAT: Subterranean News in New York City and The Los Angeles Free Press.




San Franciso: np, [1960s]. 20 x 14” First printing in neon rose. Early Environmental Action - this is considered to be one of the firsts. A famous poster by one of the premiere San Francisco poster artists of the movement, Victore Moscoso. This is an original sixties hippie poster from the Summer of Love in the Haight Ashbury. Near fine.

Provenance: From the private collection of Jeffrey Shero Nightbyrd, editor of The Rag newspaper in Austin, Texas, The SDS newspaper, New Left Notes, in Chicago, RAT: Subterranean News in New York City and The Los Angeles Free Press.


28. [EARTH DAY/Environmental Protest] SAE & NYPIRG PRESENT EARTH DAY featuring RICHIE HAVENS

New Paltz, NY: Society of Automotive Engineers/New York Public Interest Group, [nd]. Original offset lithograph poster printed in blue and yellow ink. Features a decorative design that incorporates curved lines and figurative wing motifs. "Sae & Nypirg Present" is printed at top center above "Earth Day / Sat. May 5th 1990 / Noon Til Dark" in large text that encircles an image of the Earth with five feathers hanging from the bottom. The Earth appears within a yellow circle that has a blue border with ferns and grasses on either side. Text on the lower portion of the page reads: "SUNY. New Paltz Oldman Quad / Featuring / Richie Havens / Also / Special Musical Guests, Workshops, Speakers, New Games, Collective Mural Painting, Drum Circle, Tablers, May Pole, Food, No Alcohol Please, For Info Call, 914-257-3085." Art by Michael DuBois.



New York Review of Sex & Politics #5

New York City: New York Feed Company, 1969. First edition. The New York Review of Sex & Politics was a tabloid published and distributed around the New York City area during the late 1960s. It was known for its avant-garde approach to art, sexuality and politics.


30. [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.



(Morelia, Mexico / Phoenix) N.p., c. 1970s–1980s]. Most are 3 x 5" with some 4 x 6."  A superb collection of approximately 325 photographs depicting close up imagery of late Seventies and Eighties tattoo designs. 

Modern tattooing began in 1891 when Samuel O’Reilly invented the first electric tattoo machine, adapting an earlier patent of Thomas Edison. During the early years most tattoo artists and their customers were outside the mainstream of society. Throughout most of the nineteenth and twentieth centuries, tattoos were considered low class and vulgar among Americans and Europeans, a common adornment for criminals and drunken sailors. 

From the 1960s to the 1970s, tattoos became the image of rebellion–mostly worn by bikers, hippies, and other less-accepted cultures in the Western world. By the 1970s and 1980s tattoos had become part of fashion trends developed by small groups seeking to create distinctive looks to identify with their peers. 

Since the 1980s, tattooing has emerged anew as a widely appealing cultural, artistic and social form. Elite Tattooists, magazine editors and leaders of tattoo organizations have downplayed the working-class roots of tattooing in order to make it more palatable for middle-class consumption.

Now a completely new set of meanings derived primarily from non-Western cultures has been created to give tattoos an exotic, primitive flavor.  The images here document the period that tattooing was becoming more mainstream and the elevation of the tattoo as an art form.  There are examples of earlier, cruder tattoos being covered up and/or enhanced, and many examples of the popular imagery of the time – skulls, skeletons, eagles, dragons, Harley Davidson symbols, panthers, and flowers. 

A fascinating documentation of an artform as it begins its move from its outsider / outlaw form into mainstream culture.  A number of the photographs here attributed to the work of Mike Armstrong, a respected tattooer who worked at the Blue Dragon Studio in Mexico having previously been mentored by Bud Pierson, 1983 Tattooer of the Year.

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.


34. [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.


35. [WWI, WOMEN] RALEIGH, HENRY [artist]

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 one, 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.


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