Editor Theo Crosby (11 results)

Soft cover. Condition: Very Good. 1959 card covered exhibition catalogue from the exhibition held at the Walker Art Gallery Liverpool 10th Dec1958-17th January 1959 and then the Building Centre London 3rd February - 6th March 1959.Ex pencil price mark inside cover otherwise clean interior with all pages tight in binding, covers generally clean if a little faded.…

Soft cover. Condition: Near Fine. 1st Edition. Glossy soft-back with white sp. lettering and integral wraparounds, would be fine but for small rub to bottom of spine. 300 pp., un-numbered illustrations of various kinds throughout, many coloured including numerous full page plates; light pencil inscription to front end-paper 'Givem to me by Theo/ Brian (?), illegiable surname June 1979) plus faint pencil prive which proved impossible to fully erase. 20,5cm x20 cm landscape format.…

Soft cover. Condition: Very Good. No Jacket. Another Edition. Numerous illustrations. Some marks on back cover. Book.

Soft cover. Condition: Near Fine. No Dust Jacket. 1st Edition. 1st printing. Binding a little grubby.

Paperback. Condition: Good. Book. 307 x 241 mm. Roy Lichtenstein cover. Includes review by Theo Crosby of "To Le Corbusier despite enchantment" , Richard Hamilton article on Roy Lichtenstein. Condition Good. Water damage, some staining to cover & on some pages near spine & occasional page a little loose. No tears or writing. Glue still largely intact.…

Soft cover. Condition: Good. 1st Edition. Second issue of the ICA's art journal. Includes cover by Richard Hamilton and Robert Freeman, plus Hamilton's 'Urbane Image', 'Living City' by Warren Chalk and others, 'The American Sublime' by Lawrence Alloway' and Sylvestor's interview with Adolph Gottlieb. 127 p., ill. ; 20 x 21 cm. Shelf wear to edges, creasing to cover corners, laminate lifting at corners, contents very good, no inscriptions, tight and square bindings. Photographs available on request. All books dispatched same or next working day in robust packaging.…

Paperback. Condition: Very Good. First Edition. Wraps. Dimensions 210mm x 210mm.pp. Limited Edition of 750 copies. Introduction by Theo Crosby, RA. Contributors include: Peter Hodson, Robert Chitham, Robert Adam, David Kingsley, professor Theo Crosby, professor Glynn Williams, Michael Wigginton, Alistair Robertson. Students' work represented in black-and-white drawings and photographs: James Hart, Sarah Cheeseman,Mijall Guiterrez, El Lissitay, Howard Carter, Hing Chan, Thalia Laird, Jason Flanagan, Jill Duncan, Howard Bates, Eve Taylor, Pauline McCoy, Derek Tsang, David Adjaye, mark Christy, Julian Taylor, Guila Adams. Original publisher's wraps in dark brown, lettered beige with a quote on the front cover.:" to look to learn Ð if you listen carefully." Very good. Spine slightly rubbed. …

Card covers. Condition: Very good in wraps. First Edition. 14 x 18cm very good card-covered publcation featuring photographs by Nigel Henderson, Nathan Rosenberg plus others. A magazine devoted to print and to the synthesis of the arts.This issue features notes for a lecture given by Eduardo Paolozzi at the ICA in 1958. .…

8vo. Original printed wrappers, rear cover detached, otherwise good. Between 1953 and 1962, while establishing his own architectural practice, Theo Crosby acted as Technical Editor of Architectural Design magazine, which was seeking to bring a more youthful, vital and progressive approach to the subject than the previously dominant Architectural Review. Whilst at Architectural Design, Crosby attached himself to the Institute of Contemporary Arts (ICA) in London, attended meetings of the Independent Group there, and was particularly impressed by the group's discussions of the impact of mass communication and information theory on architecture and design. It was Crosby who suggested, and steered to completion, what would be the Independent Group's swansong - the watershed exhibition This Is Tomorrow at London's Whitechapel Gallery. In Architectural Design Crosby wrote that the exhibition was "evidence of attempts towards a new sort of order, a way towards that integration of the arts that must come if our culture is not merely to survive, but come truly to life". Whilst Crosby is renowned for his work at AD and later the architectural practice of Pentagram, he was also to edit the little-known arts magazine Uppercase. . "UPPERCASE is a journal of the graphic arts; it will deal with the whole field of visual communication, and if some of the connections are tenuous, then the reader must bridge the gap with his own experience and imagination . In UPPERCASE we will try to find a correlation between the arts, and attempt to relate them specifically to print. The method will generally be to take a mass of material from an artist and present a typographical equivalent; each issue will thus be an experiment in type within the same overall format." (From Crosby's preface to this, the first issue). Understandably it is the work of the Independant Group artists which feature in the pages of UPPERCASE. In the first issue, the lead content is on Eduardo Paolozzi (about 30 pages of notes, illustrations and photographs). Also includes contributions by artists David Piper, Magda Cordell and John McHale.…

Card Covers. First Edition, First Printing. An offering of two exceedingly rare issues by the profoundly consequential, avant-garde architectural collective known as Archigram. Formed in the 1960's in London, its members comprised of: Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb, David Greene, and "hidden hand" designer Theo Crosby. Archigram - a conglomeration of (Architecture+Telegram) - would go on to become one of the, "most seminal, iconoclastic and influential architectural groups of the modern age. They created some of the 20th century's most iconic images and projects, rethought the relationship of technology, society and architecture, predicted and envisioned the information revolution decades before it came to pass, and reinvented a whole mode of architectural education and therefore produced a seam of architectural thought with truly global impact." Intended as, "a free-form magazine [it] was designed to explore new projects and new thinking which were overturning the strict modernist dictates of the 1960s." [Source: Archigram Archival Project]. Detailed descriptions: Issue No. 8 housed in a "Popular Pak"; ('Milanogram/Milan Triennale/population growth). Yellow 'envelope' folder with pocket; 'cover' image on inside. Contents: eight pages 420mm x 150mm, folded; seventeen sheets, double sided, 210mm x 150mm, and one 300mm x 210mm. Not numbered or ordered, but punchcard codification down the edge of sheets. Sheets inserted in folder. Wallet taped shut and posted to readers. Priced at "5 shillings". || Issue No. 9 sometimes colloquially known as the "Seed Issue" with a "Free Seed Offer", 'Archi-zones' communications and landscapes. Comprising of eleven sheets measuring 400mm x 253mm, stapled on left and folded in half forming 22 'pages'. Various types, weights, colours of paper and range of one, two and three colour printing. Our offering is complete with the packet of 'Night Scented Stock' seeds, and stapled to page 11. /// Light rubbing, occasional chips/creasing along the edges of the packet housing the contents of Issue No. 8 otherwise, the issues remain in near fine condition. Rare in commerce.…

Catalogue 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. The printed wrapper lists the exhibition's participants and the following statement: '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. The 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.' Such 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. First 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.…