{"title":"Archival Collections","description":null,"products":[{"product_id":"carolee-schneemann-david-crosswaite-thames-crawling-1970-112744","title":"Small archive relating to Carolee Schneeman's 'Thames Calling' performance at the Underground Film Festival, National Film Theatre, London, 14th to 20th Sept 1970. [With:] the 'low cost edition' of Schneeman's Parts of a Body House Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ephotographs of a Carolee Schneemann performance\u003c\/h4\u003eCarolee Schneemann is a pioneering performance artist, filmmaker, and writer on the subjects of feminism, sexuality, and the ecstatic body as a source of knowledge. These photographs by David Crosswaite show her 'Thames Crawling' performance at the 1970  International Underground Film Festival at the National Film Theatre, London.\u003cbr\u003e\u003cbr\u003eIn a note to David Curtis, co-organiser with Simon Field of the Film Festival, Carolee Schneemann writes:\u003cbr\u003e\u003cbr\u003e'Dear Dave: PUBLIC NOTICE –Yugoslavian films lost to us – total black out on communications; at. this late date it must mean \"not possible\". For the late evening program, 17th, where we hoped to have the Yugoslavian films, I'll present an expanded cinema piece (Kinetic Theater my name for it) juxtaposing \"Fuses\" and \"Viet-Flakes\" on  buttresses outside, under the NFT Theater; a performance in a foam rubber environment which might engulf performers and spectators – an activation exchange. Call it for now, \"Thames Crawling\". Realisation with Joan Lifton.'\u003cbr\u003e\u003cbr\u003eDavid Crosswaite is a filmmaker and artist associated with the London Film-Makers' Co-operative (LFMC). He photographed many happenings and performances, and his photographs of 'Thames Crawling' are included in Carolee Schneemann's \u003cem\u003eParts of a Body House Book\u003c\/em\u003e (1972) artists' book. \u003cbr\u003e\u003cbr\u003eThe LFMC was founded in 1966 as a screening club at Better Books on Charing Cross Road, London, and grew into a pioneering organisation that played a crucial role in establishing film as an art form in the UK. In the 1990s, the LFMC merged with London Electronic Arts and became the Lux Centre, which later became Lux.\u003cbr\u003e\u003cbr\u003eSome photographs from 'Thames Crawling' feature in Parts of a Body House Book, which Schneemann describes as being 'an accumulation of letters, analyses of films and charts of sexual parameters which incorporate many of the issues that were of great concern in the early 1970s in London. The texts are centered on those aspects of the body that were then considered shameful or taboo or were simply ignored.'\u003cbr\u003e\u003cbr\u003eThis 'low-cost edition' of Parts of a Body House Book was published by the same press, two months after the 'deluxe edition' of 60 signed and numbered copies (plus 15 artist's proofs).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e18 vintage gelatin silver photographs (105 x 164 mm, 4¼ x 6 ½ in); occasional minor marks, lightly curled, one with a caption and credit in black pen on verso.\u003cbr\u003e\u003cbr\u003e[With:] International Underground Film Festival 14th to 20th Sept 1970. London, National Film Theatre, 1970.\u003cbr\u003e\u003cbr\u003ePoster; (592 x 420 mm, 23¼ x 16½ in); yellow paper printed in red, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] National Film Theatre. September 14th – 20th 1970. South Bank, London. International Underground Film Festival – provisional schedule (as of Sept 3rd.)\u003cbr\u003e\u003cbr\u003eProgramme\/schedule; two duplicated leaves of pale blue paper printed on both sides (330 x 203 mm, 13 x 8 in), folded for mailing, toning to edges with light wear at folds, very good.\u003cbr\u003e\u003cbr\u003e[and:] Oz News. International Film Festival Supplement. Compiled by Dannae Hughes, Ian Stocks and Albie Thoms. Oz 30 Oct 70. [London], Oz, October 1970.\u003cbr\u003e\u003cbr\u003ePoster\/insert; (614 x 422 mm, 24¼ x 16½ in); Oz News printed in black-and-white on one side, Mike McInnerney's tribute to Jimi Hendrix in black and blue on the other, machine-folded three times, three shore edge-tears, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] SCHNEEMANN, Carolee. Parts of a Body House Book. Cullumpton, Devon, Beau Geste Press, March 1972.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHNEEMANN, Carolee]. CROSSWAITE, David.","offers":[{"title":"Default Title","offer_id":49462621438257,"sku":"112744","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112744_6f0493c9-9c73-4224-bb06-2b2d9393f611.jpg?v=1790185619"},{"product_id":"crosby-this-is-tomorrow-whitechapel-gallery-1956-114700","title":"This is Tomorrow.","description":"\u003ch4 class=\"srb-faux-head\"\u003epioneering multi-disciplinary exhibition which radically affected architectural and artistic practice in the 1950s\u003c\/h4\u003eCatalogue for the landmark exhibition at the Whitechapel Gallery (9 August - 9 September 1956), which signalled the birth of British Pop Art. 'This is Tomorrow' was organised by architect and writer Theo Crosby, who proposed an exhibition based on a model of collaborative art practice. The 38 participants included architects James Stirling, Alison and Peter Smithson, and Erno Goldfinger; artists Eduardo Paolozzi, Victor Pasmore, Sarah Jackson, Mary Martin, Nigel Henderson, Richard Hamilton and other members of the Independent Group; and architectural critic Reyner Banham formed 12 mixed groups who each worked together towards the production of an installation exploring the 'modern' way of living characterised by mass production, use of novel materials, and the daily maintenance of living space and the built environment.\u003cbr\u003e\u003cbr\u003eThe printed wrapper lists the exhibition's participants and the following statement:\u003cbr\u003e'An exhibition is to take place at the Whitechapel from 9th August to 9th September, 1956 which will result from the direct co-operation of architects, painters, sculptors and others.\u003cbr\u003eThe object of this exhibition is to explore the common ground between art and architecture and to search for that unity of vision and total sense of environment which alone can make further development possible. This exploration is one of ideas. To enlarge the existing art work to an architectural scale is, of course, meaningless.... As a point of departure for further experiment the exhibition should be valuable and controversial, and show a new interpretation of materials and space.'\u003cbr\u003e\u003cbr\u003eSuch an example of collaboration was still unusual at the time but provided a blueprint for a cross-disciplinary collaborative approach in architecture and art; the ripples of influence it created over 60 years ago still resonate today.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of 1300 copies; (165 x 165 mm, 6½ x 6½ in); illustrated throughout in black and white, design by Edward Wright slight age-toning to leaves; original spiral-bound printed covers, white and burgundy lettering to upper side, light wear to extremities, with an original kraft paper wrapper printed in black, near-fine; [126]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[THIS IS TOMORROW.] CROSBY, Theo (editor).","offers":[{"title":"Default Title","offer_id":55060850049399,"sku":"114700","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114700_01_dcda97f5-f86b-4de9-89c3-d28136f29a91.jpg?v=1790186177"},{"product_id":"kurt-schwitters-hutchinson-camp-almanac-1940-111349","title":"The Camp no. 13\/14 Almanac 1940-41.","description":"\u003ch4 class=\"srb-faux-head\"\u003einternment camp almanac inscribed by Kurt Schwitters\u003c\/h4\u003eThe Camp Almanac 1940-41 is a special end-of-year double issue of The Camp newspaper, produced by detainees of Hutchinson Internment Camp on the Isle of Man, intended to showcase the work of émigré artists and writers detained there whilst also reflecting on the first six months of life at the camp. It includes contributions by several prominent artists, including Kurt Schwitters, who contributed a portrait of The Camp editor Michael Corvin (pseud. Leo Freund). This copy belonged to Siegfried Oppenheimer, a German art dealer interned at Hutchinson; many of the contributions are inscribed to him and are accompanied by several related items, including original examples of artwork produced by internees at the Hutchinson Camp on the Isle of Man and correspondence.\u003cbr\u003e\u003cbr\u003eInitially, art materials were scarce in the camp, and all the artists had to improvise to continue to work while interned. Lavatory paper, newspapers, wallpaper, napkins, and tablecloths were all used to write, draw, and print on. Linocut prints were made using strips of linoleum removed from kitchen and bathroom floors, which were cut into using kitchen utensils, and printed using a crude ink made using crushed graphite from pencils or ground brick dust mixed with margarine or the olive oil from tinned sardines. The inked blocks were passed through a laundry mangle, which applied enough pressure to make a satisfactory print onto whatever paper could be found.\u003cbr\u003e\u003cbr\u003eSiegfried Oppenheimer, an art dealer associated with the well-known Margraf firm in Berlin, took it upon himself to represent the Hutchinson visual artists and approached the camp commander to accommodate their needs. Oppenheimer was able to secure a promise that the camp commander would supply materials and studio space for 'his' artists, and in exchange, they would stage an exhibition of their work. Two art exhibitions were held at Hutchinson, the first in September, followed by a second in November 1940. After his release, Oppenheimer seems to have remained in Britain and continued to operate as an art dealer, representing the work of his fellow internee Erich Khan and lending support to the Ben Uri Art Society and the Friends of the Arts Museums of Israel.\u003cbr\u003e\u003cbr\u003eAll copies differ in terms of their content due to the ad hoc nature in which they were assembled and are down to the personalised choices by the person making each copy. This copy has 22 contributions on 25 sides.\u003cbr\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eThe following contributors have signed or inscribed their pages:\u003cbr\u003e\u003cbr\u003eMichael Corvin, Fritz Kramer, Fred Uhlman, Kurt Schwitters, Erich Kalman, Paul Hamann, O. Wenzel, Adolf 'Dol' Mirecki, Fritz Solomanski, Ernst Müller-Blensdorf, K. Simmel[?], Erich Kahn, Bruno Ahrends, and Hellmuth Weissenborn.\u003cbr\u003e\u003cbr\u003eOppenheimer's own contribution, 'Mission of Art', is signed by the following: Peter Fleischmann, Fritz Solomanski, Ernst Schwitters-Guldahl, Fritz Kraemer, Klaus Hinrichsen, Dol. A. Mirecki, [?], Fred Uhlman, Bruno Ahrends, [?], Ernst Müller-Blensdorf, Erich Kahn, Richard Friedenthal [?], Heinrich Fraenkel, and Curt Sluzewski.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e20 mimeographed foolscap leaves (343 x 216 mm), with an additional two leaves present in duplicate. 16 pages partially coloured in pastels and watercolour by the artists. 15 leaves are signed or inscribed to Siegfried Oppenheimer, including Kurt Schwitters' portrait of editor Michael Corvin, additionally Oppenheimer's own contribution 'Mission of Art' is signed by 15 of his fellow internees. Light wear and occasional foxing to leaves. Loose in the worn original manila wrappers (400 x 240 mm) with 'HC' monogram in pastel to front and offsetting from a taped letter to inside of the wrapper.\u003cbr\u003e\u003cbr\u003e[With the following additional items:] \u003cbr\u003e\u003cbr\u003eMÜLLER-BLENSDORF, Ernst. An original drawing (230 x 165 mm) mounted on paper (338 x 212 mm); wear and stain to mount. Inscribed by Blensdorf to Siegfried Oppenheimer in pencil on the mount and signed Ernst M. Blensdorf \/ Hutchinson \/ 24.12.1940.'\u003cbr\u003e\u003cbr\u003eMÜLLER-BLENSDORF, Ernst. Another original drawing (177 x 207 mm) mounted on paper (338 x 212 mm); wear and stain to mount. Inscribed by Blensdorf to Siegfried Oppenheimer in pencil on the mount and signed Ernst M. Blensdorf \/ Hutchinson Camp \/ 29.12.1940.'\u003cbr\u003e\u003cbr\u003eWEISSENBORN, H. Linocut print on paper (image 91mm x 182 mm; paper 345 x 224 mm); edges creased signed: 'Douglas 1940 \/ H. Weissenborn'.\u003cbr\u003e\u003cbr\u003eDOL [A. Mierecki]. Caricature print of Hitler as a snowman (115 x 87 mm) [1940].\u003cbr\u003e\u003cbr\u003eWEISSENBORN, Helmuth. 'Le Petit Souper Menu' for 26 December 1940. (265mm x 206 mm), hand-coloured and addressed to S. Oppenheimer, Helmuth Weissenborn's London address in black ink on the verso.\u003cbr\u003e\u003cbr\u003eOne leaf (338 x 212 mm) from the previous issue of The Camp, with what appears to be a\u003cbr\u003eletter drafted in pencil on the verso.\u003cbr\u003e\u003cbr\u003eRAWICZ, Maryan. Autograph letter signed 'Maryan Rawicz' to Siegfried Oppenheimer's wife, written shortly after Rawicz was released. London. 25 October, 1940. 8vo (232 x 172 mm), [2]pp on 1 sheet, written in black ink on recto and verso; torn along horizontal and vertical folds, strengthened with yellowing tape.\u003cbr\u003e\u003cbr\u003eMÜLLER-BLENSDORF, Ernst. Autograph letter signed 'Ernst M-Blensdorf' to Siegfried Oppenheimer, in which he discusses life in England after his release from Hutchinson Camp. Strathaven, Lanarkshire. 9 August, 1941. 8vo (228 x 177 mm), [4]pp on two sheets, written in black ink on recto and verso; creased where folded.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHWITTERS, Kurt et al.] CORVIN, Michael (pseud. Leo Freund) (editor).","offers":[{"title":"Default Title","offer_id":57478936297847,"sku":"111349","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111349_0b6af44a-4c49-4789-b5a8-1bed910109c8.jpg?v=1790168811"}],"url":"https:\/\/shapero.com\/en-us\/collections\/avant-garde-protest-archival-collections.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}