A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=Edward%20Ruscha&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Ruscha</a>'s photobook Every Building On The Sunset Strip.<ul><li>Edward Ruscha (American).</li><li>(Los Angeles):&nbsp;Edward Ruscha,&nbsp;1966.</li><li>Signed by Ruscha along bottom edge of slipcase.</li><li>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.</li></ul> 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. "Not only the most physically ambitious of Ruscha's books, but the most flamboyant." — Parr &amp; Badger Ruscha's fourth book 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).

Every Building On The Sunset Strip

A first edition of Ruscha's eleventh book, featuring one bespoke baby (his own) and many mass-produced commercial cakes.<ul><li>Edward Ruscha (American).</li><li>Photographs by Elizabeth Claman, Sid Felson, Jerry McMillan, Danna Ruscha and Ed Ruscha.</li><li>New York: Multiples, Inc., 1970.</li><li>52 pages.</li><li>Bound in the original robin's-egg blue wrappers with pink satin ribbon tie and green flocked lettering.&nbsp;</li></ul> Babycakes With Weights was originally issued by Goodman's imprint as part of the boxed portfolio set Artists and Photographs, with a catalog and works by 18 other contemporary artists (Sol LeWitt, Bruce Nauman, Robert Rauschenberg, Andy Warhol and others). Despite the cover's uncharacteristic soft pastels and textures, the book's photographs are in black and white, as austere as frosted cakes ever are. The pictured baby, at a stated 15 lbs 8 oz, weighs double the largest cake shown, or approximately 70 Hostess cinnamon rolls.

Babycakes With Weights

Signed first and only edition of Ruscha and Bengston's collaborative book.<ul><li>Edward Ruscha (American).</li><li>Billy Al Bengston (American).</li><li>Hollywood, CA: Heavy Industry Publications, 1968.&nbsp;</li><li>21 photographic illustrations.</li><li>Black and white photograph mounted to front cover.&nbsp;</li><li>Part of an edition of 1,000 copies.</li><li>Signed by Ruscha and Bengston on front cover.&nbsp;</li><li>Bound in original faux wood-grain wrappers tied with knotted leather cord, hand-bound by artists.&nbsp;</li></ul> Business Cards, Ruscha explained in a later interview with Trina Mitchum, "started as a joke but then we decided to go through with it [...] We had a dinner at the Bistro in Beverly Hills and after dinner we had a very dramatic business card exchange which Larry Bell photographed with his Polaroid and good judgment. Later the book of photographs came out."

Business Cards

A signed first edition of Ruscha's last solo photobook to use the minimal "house style" made famous by Twentysix Gasoline Stations and other early works.<ul><li>Edward Ruscha (American).</li><li>Los Angeles: Edward Ruscha, 1970.</li><li>48 pages.</li><li>25 black and white photographic illustrations.</li><li>Part of an edition of 4,000 unnumbered copies.</li><li>Signed by Ruscha in pencil on front free endpaper.&nbsp;</li><li>Bound in original white printed wrappers.</li></ul> The 25 black and white photographs of Real Estate Opportunities frequently include "For Sale" signs, recalling Ruscha's early life as an aspiring commercial artist who "learned sign-painting techniques and painted many commercial signs, including For Sale signs" (Phillpot). Properties pictured, captioned with their addresses, include houses, residential lots and forlorn stretches of barren land whose only neighbors are the telephone poles and roads of southern California.

Real Estate Opportunities

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">Signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, first printing of <a href="https://www.sothebys.com/en/search?query=Ruscha&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Ruscha</a> and Weiner's photo-novel, starring Shelley Chamberlain, Suzanne Chandler, and Susan Haller in an oblique visual drama.<ul><li>Edward Ruscha (American).</li><li>Lawrence Weiner (American).</li><li>(Los Angeles): [Heavy Industries Publications], (1978).</li><li>120 pages.</li><li>65 photographic illustrations by Ruscha, Weiner, and Susan Haller.&nbsp;</li><li>Signed by Ruscha in pen on front free endpaper.&nbsp;</li><li>Original glossy color wrappers.</li></ul> "Ruscha's books are meant to be read, but since the art world doesn't know how to read he might as well amuse himself." — Eleanor Antin The last of Ruscha's artist's books and one of only a few to admit a plausibly narrative reading, Hard Light is also Ruscha's broadest collaboration: with Lawrence Weiner, credited as co-author, but also with Chamberlain, Chandler, and Haller, who, like actors in motion pictures, cannot help but interpret the direction given to them, and who drink coffee, wear jeans, and drive cars like the stars they are. (Haller is also noted as a third photographer by Engberg and Phillpot, though not in the book's sparse credits.) Buquet strains to see a "barely veiled reference to feminist demands" and potential "derisive" dialogue with Lynda Benglis, while Ruscha himself, interviewed while in the process of making the book, said only "We went out and got a few girls and shot some pictures."

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