Art, Illustration and Design

Los Angeles,: Armand Hammer Foundation. 1987. Soft Cover. 252 pages, well illustrated (many in color), pictorial wraps. 8-1/2 by 11 inches, very good. From the verso of title-page: The Armand Hammer Foundation makes possible exchanges of art, sponsors medical research and promotes international understanding for the progress of people everywhere. Photographs by: Richard Benson, Edward Cornachio, Larry duPont, John S. Gebhart, Seth Joel. Foreword by Armand Hammer. Preface by Earl A. Powell III, Director, Los Angeles County Museum of Art. . more information

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Leipzig,: Verlage Von E. A. Seemann (Circa 1900). Hard Cover. circa 300 pages, circa 3000 illustrations, cloth, very good. German print dealer's catalogue showing all types of pictures for sale. . more information

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New York: Florists' Exchange. Very Good. 1920. Hard Cover. 133 pages, very well illustrated, cloth, very good. 9 by 12 inches. Designs include: American flags, anchors, automobiles, dirigible balloon, baseball club tribute, bicycle, clocks, cradles, gondola, harps, hearts, horseshoes, lyres, bridal muffs, funeral design for newspaper man, painter's palette, parasol, pony trap, umbrella, vases, wreaths. . more information

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Linweave Association,. 1934. Hard Cover. 54 leaves, illustrations (some in color), boards, very good, measures 9" x 12". A reprinting of ten limited edition booklets published on various types of papers. . more information

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Washington,: American Federation of Arts,. 1926. Hard Cover. 785 pages, plates, cloth, very good. . more information

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Paris: Musee Du Louvre. Very Good. 1976. Soft Cover. 150 pages, well illustrated, pictorial wrappers, very good. Contents include: La Mirabeau de Claude-Andre Deseine, Dessins inedits de Fragonard, David et Drouais, Dessins de Jacques-Louis David. . more information

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New York: Museum of Modern Art. Good. 1940. Soft Cover. 199 pages, well illustrated, map endpapers, pictorial wrappers, some shelf wear and light notations by former owner otherwise very good. Text in English and Spanish. In collaboration with the Mexican Government. From the introduction: "For the first time in the history of art exhibitions, there has now been brought together in one building an authoritative and systematic collection of Mexican art, from the archaic cultures to the most recent schools of painting." . more information

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Waterville: Colby College Art Museum. Very Good. 1965. Soft Cover. Exhibition held at Colby College Art Museum, August 18/October 3, 1965 / catalog prepared by Selma Jónsdottir. 40 pages, well illustrated, wrappers, oblong, 9-1/2 by 8-1/2 inches. From the introduction: It is a great privilege for the Colby College Art Museum to hold the first major exhibition of modern Icelandic art in the United States. . more information

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New York: New York, Watson-Guptill Publications, Inc. .. 1991. Hard Cover. 271 pages, mainly pictorial (mostly in color), cloth, 8 1/2" x 11". . more information

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Moscow,: State Fine Arts Publishing House, 1957-1958.. Hard Cover. 2 volumes (372 and 231 pages), 28 plates, 1000+ illustrations, cloth, fine. 8 by 10-1/2 inches. From the preface: The art treasures gathered for sale in the State Hermitage attract constant attention of millions of people. World-famed is the Department of the History of West-European Art. In the course of the last three years, more than five million people used the material of the museum exhibitions in their study of the great works of art created by Leonardo da Vinci, Raphael, Titian, El Greco, Velazquez, Rubens, Van Dyck, Rembrandt, Poussin, Watteau, Chardin and many other eminent masters. It is the aim of this album to promote wider popularization of the most outstanding productions of West-European Schools from the 14th to the 19th century gathered in the Hermitage. This publication aims at giving a general idea of the present contents of the picture-gallery and characterizes the most notable collections of the Museum. The album is issued in 2 volumes and contains reproductions of 1,067 pictures. These are distributed among 11 sections of the album, each section representing a separate school. . more information

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Philadelphia Museum of Art. 1961. Soft Cover. 50 pages, well illustrated, pictorial wrappers, very good. 8-1/2 by 11 inches. . more information

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Philadelphia: Rodin Museum (Circa 1950). Soft Cover. 25 pages, illustrations, pictorial wrappers, very good. Catalogue compiled by Fridolyn G. Watkins, Murals in the Library by Franklyn G. Watkins. Cover: Auguste Rodin by Renoir. . more information

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New York: Harry C. Jones. Good. 1895. Hard Cover. 384 pages, very well illustrated, decorated cloth, shaken, some shelf-wear, text very good. . more information

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Konigstein Im Taunus & Leipzig: Karl Robert Langewiesche. Very Good. 1924. Soft Cover. 64 pages, well illustrated, pictorial wrappers, very good. 7-1/2 by 10 inches. . more information

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Amsterdam: Rijksmuseum. Very Good. Soft Cover. 12 reprodukties in kleuren naar oude meesters. 13 plates (12 in color), pictorial wrappers, oblong 7-1/2 by 6 inches, very good. Series of plates, one showing a view of the museum and 12 of paintings. From the Wikipedia website: "The Rijksmuseum is a national museum of the Netherlands, located in Amsterdam on the Museumplein. The Rijksmuseum is dedicated to arts, crafts and history. It has a large collection of paintings from the Dutch Golden Age and a substantial collection of Asian art." . more information

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Worcester Art Museum. 1939. Soft Cover. Under the high patronage of His Excellency the Belgian Ambassador to the United States Count Robert van der Straten-Ponthoz. Worcester Art Museum February 23 - March 12. John G. Johnson Collection at the Philadelphia Museum of Art March 25 - April 26 1939. 71 pages, frontispiece (in color), map endpapers, 52 plates, pictorial stiff wraps, very good. . more information

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New York: Metropolitan Museum of Art. 1968. Soft Cover. Held during 1968-69 at the Metropolitan Museum of Art, the Rijks museum in Amsterdam, and the Hayward Gallery in London. . more information

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Washington,: Government Printing Office,. 1965. Hard Cover. 427 pages, circa 500 illustrations & plans, cloth, very good, measures 8" x 11". Joint Committee on the Library, Omar Burleson, B. Everett Jordan, Claiborne Pell, Joseph S. Clark, Paul C. Jones, Frank Thompson, Jr., John Sherman Cook, Hugh Scott, Glenard P. Lipscomb, Robert J. Corbett. . more information

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International Exhibitions Foundation. Very Good. 1968. Soft Cover. "Circulated by the International Exhibitions Foundation." Participating museums: National Gallery of Art, Washington, D.C., Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, The Art Institute of Chicago and the M.H. de Young Memorial Museum, San Francisco. Germain Viatte and Blaise Gautier assembled the paintings and provided the catalogue entries and biographical data. 127 pages, well illustrated (some in color), pictorial wrappers, 8-1/2 by 11 inches, very good. . more information

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Smithsonian Institution,. 1983. Soft Cover. 0865280258 . 187 pages, well illustrated, pictorial wraps, very good. 9 by 12 inches. . more information

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Boston: Museum of Fine Arts. 1963. Hard Cover. Revised with additions by Cornelius C. Vermeule III. 290 pages, frontispiece in color, well illustrated, folding map, cloth, very good. . more information

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Buffalo,: Albright Art Gallery. Very Good. 1937. Soft Cover. 261 pages, well illustrated, wrappers, 8-1/2 by 11 inches, very good. Contents : Foreword, by Gordon Bailey Washburn.--Bronze, by Robert Tyler Davis.--The three-dimensional bronzes of Iran, by Arthur Upham Pope.--An introduction to bronze statuettes of the Far East, by Langdon Warner.--An introduction to bronze statuettes of Egypt, by Dows Dunham.--An introduction to Greek, Etruscan, and Roman bronzes, by Gisela M. A. Richter.--An introduction to bronze statuettes of India and farther India, by Ananda K. Coomaraswamy.--Mediaeval bronzes, by Marvin Chauncey Ross.--An introduction to bronze statuettes of the Renaissance, by John G. Phillips, Jr.--Bronze statuettes of the 19th and 20th centuries of Europe and America, by Stephan Bourgeois. From the foreword: "Thanks to these two institutions we show fifty-nine of the rarest and most beautiful examples of the bronzemaker's art out of the hundred and seventy-three items here assembled." . more information

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Statue of Liberty - Ellis Island Foundation, Inc.. Very Good in Very Good dust jacket. 1985. Hardcover. 0671611739 . 304 pages, well illustrated (some in color) , cloth, DJ, very good. 9 by 12 inches. From the foreword: "The words and pictures in this book tell the story of millions of people who left everything they knew for a chance at something better. " CH91AOS ; 304 pages . more information

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New York: Harper & Row. Very Good. 1984. Soft Cover. 0060911107 . 231 pages, well illustrated, pictorial wrappers, oblong, 11 by 8-1/2 inches. Companion book to Anderson's landmark 8-hour performance art piece. From the PBS website Art in the 21st century: 'Laurie Anderson began composing United States in 1979, nearly four years before its debut performance at the Brooklyn Academy of Music in New York. An eight hour production in four parts - Transportation, Politics, Money, and Love - the work is modeled after the structure of a classical opera. The portrait of a technological society and its people, Anderson's "talking opera" portrays a subject which is constantly changing or on the move. Featured in the work are the themes of driving and flying cross-country. Lush with geographical references and imagery, Anderson's song and stories were complimented by a complex, multimedia stage production consisting of thousands of slides and film clips. Projected over and behind the performers were, among other things, images of maps, wild animals, astronauts, and electrical equipment. Anderson even devised a makeshift hologram, created by rapidly waving a violin bow in the light cast by a slide projector. Pairing violin and voice with electronic synthesizers and techno-pop drum beats, the sound of the opera matches Anderson's handling of images and subject matter. Dreams, Bible stories and images of nature are complimented by radio dials, airports, and outerspace. In a striking image, performers held violins in front of their faces producing large, alien-like shadows on a translucent screen. Playful and sharp-witted, Anderson's United States combines familiar objects, images, and situations to produce an uncanny, evocative performance.' . more information

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Englewood Cliffs, NJ.: Prentice Hall,. 1968. Hard Cover. 663 pages, circa 2000 illustrations (many in color), cloth, dust jacket, very good, measures 9 by 12 inches. . more information

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Artes De Mexico. Soft Cover. 128 pages, well illustrated (many in color), pictorial wraps, 9 by 12-1/2 inches, very good. . more information

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Baltimore,: Baltimore Museum of Art. 1955. Soft Cover. 93 pages, well illustrated, pictorial wrappers, slight shelf wear otherwise very good. Designed by Kurt Wiener. . more information

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New York: G. P. Putnam's Sons,. Very Good. 1928. First Edition. Hard Cover. 281 pages, well illustrated, cloth, very good. 7-1/2 by 10-1/2 inches. Contents: pt. I. The children's picture book.--pt. II. The technics of drawing. From the preface: By his record a child will teach us, in this book, that self-development in drawing is possible and desirable to a degree beyond our present dreams. It is admitted this child whose name is Romano is an exceptional case, but only owing to the circumstances that were favorable to self-development. Genius counts for nothing when conditions for its unfolding are wholly adverse. . more information

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London: Hamlyn,. Very Good in Poor dust jacket. 1973. Hard Cover. 0600344002 . 240 pages, well illustrated (some in color), cloth, dust jacket frayed otherwise very good. 9 by 12 inches. From the dust jacket: "Ian Bennett, who is on the staff of the fine art auctioneers, Sotheby's of London, first became interested in American paintings when they began to pass through his hands at the London salerooms. He writes, therefore, not only with the knowledge of the expert but with the enthusiasm of the convert. It is a pleasure to be led through the history of American painting by such a sympathetic guide." . more information

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New York: Simon & Schuster. Very Good in Very Good dust jacket. 1960. Hard Cover. Preface by Raymond Mortimer. 200 pages, very well illustrated, cloth, dj, very good. From the publisher: On October 6, 1959, Bernard Berenson died at the age of 94. Since 1900 he had lived at his villa I Tatti outside Florence, renowned as the world's foremost authority on Italian paintings and for more than twenty years revered as a sage - a legend in his own lifetime. I Taii became a place of pilgrimage for those who wanted to pay homage to this great exponent of life-enhancement. There were many, for Berenson loved civilized talk above all else. Fortunately for us, like many another great conversationalist, Berenson kept a diary, and The Passionate Sightseer enables us to experience the wisdom winged with wit that kept his listeners entranced and inspired. When Berenson was not in his beloved villa he traveled; and these diaries record his journeys to North Africa, Sicily and the rest of Italy during the post-war period. From the Columbia Encyclopedia, Sixth Edition: Bernard Berenson, 1865-1959, American art critic and connoisseur of Italian art, b. Lithuania, grad. Harvard, 1887. An expert and an arbiter of taste, he selected for art collectors innumerable paintings, many of which are now in museums. A testament to his taste may be seen in the Gardner Museum in Boston. He was associated for many years with the British art dealer Lord Duveen as chief art adviser. Berenson settled (c.1900) in Settignano, near Florence, Italy, where he built up a fine art collection and library. He was noted as a brilliant conversationalist and wit. His home, I Tatti, became a mecca for European and American intellectuals and was willed to Harvard. Some of Berenson's early publications are still used in the study of art history, though later scholars have criticized many of his judgments. . more information

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Totowa, NJ: Rowman and Littlefield,. Very Good. 1971. Hard Cover. 0874710456 . The Besterman World Bibliographies. From the preface: The World bibliography of bibliographies covers all subjects and all languages, and is intended to serve reference and research purposes of the most specific and specialized kind. Yet contained in it are broad and detailed surveys which, if relevant entries throughout the volumes are added to them, can serve also the widest reference inquiries, and be useful to those who seek primary signposts to information in varied fields of inquiry. . more information

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New York: St. Martin's Press. Very Good. N.D.. Hardcover. 106 pages, well illustrated, cloth, very good. 8 by 10 inches. From the introduction by Norman Hall, "The Photo-Vision series which appeared in Photography magazine proved to be one of the most important instructional projects ever presented to photographers. A wide demand for the series in one complete volume has led to the production of this book and will, in turn, lead to a wider readership. There have been some minor alterations to the text and , in addition, many new pictures have been brought in. " FW254; 106 pages . more information

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New York: Watson-Guptill Publications,. 1976. Hard Cover. 082301309X . 168 pages, 4 plates in color, well illustrated, cloth, dust jacket, . more information

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London: Constable,. 1974. Hard Cover. 0094598908 . 208 pages, well illustrated (many in color), boards, 9-1/2 by 12-1/2 inches, ex-library with usual library markings otherwise very good. Jury: Ludovic Brenot, Willy Fleckhaus, Alan Fletcher, Peter Glemser, David Pelham, Michael Rand. . more information

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Petaluma, CA: Pomengrate Calendars & Books. 1989. Soft Cover. 0876544332 . 118 pages, well illustrated (some in color), pictorial wrappers, 8-1/2 by 11 inches, very good. Designed by Bonnie Smetts Design. From the publishers: These figures are out of our dreams, those which flee from us upon awakening, those which are dispersed like dew at dawn, those which fall apart between fingers like dust-roses. Susan Boulet has a more muted step, or perhaps she is invisible and more soft-voiced, soft-gestured, as the images do not escape from her. She can return from her voyages with intact descriptions, with the elusive profiles of our prophets, our fairytale lovers, our story-tellers, our personages form a thousand one nights, from medieval forests only known to unicorns, from places never visited by us but which we remember. . . (by Anais Nin). . more information

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New York: D. Appleton-Century. Good. 1936. Hardcover. Xii, 340 pages, frontispiece (portrait) , 16 plates, cloth, ex-library with usual library markings otherwise very good. From the Columbia Encyclopedia, Sixth Edition: "William Hogarth, 1697-1764, English painter, satirist, engraver, and art theorist, b. London. At the age of 15 he was apprenticed to a silver-plate engraver. He soon made engravings on copper for bookplates and illustrations-notably those for Butler's Hudibras (1726). He studied drawing with Thornhill, whose daughter he married in 1729. Hogarth tried to earn a living with small portraits and portrait groups, but his first real success came in 1732 with a series of six morality pictures, The Harlot's Progress. He first painted, then engraved them, selling subscriptions for the prints, which had great popularity. The Rake's Progress, a similar series, appeared in 1735. The series Marriage à la Mode (1745) is often considered his masterpiece. With a wealth of detail and brilliant characterization he depicts the profligate and inane existence of a fashionable young couple. Hogarth invented a sort of visual shorthand that enabled him to recall with perfect clarity whatever sight he wished to retain. He became, by this means, an enormously learned artist possessing a profound visual understanding. His Analysis of Beauty (1753) is a brilliant formal exposition of the rococo aesthetic. In such prints as Gin Lane and Four Stages of Cruelty Hogarth is very sincerely didactic, employing the weapons of satire against the cruelty, stupidity, and bombast that he observed in all levels of the society of his day. His portraits The Shrimp Girl (National Gall. , London) and Captain Coram (1740) are two of the masterpieces of British painting. Hogarth's major works are in England. In New York City the Metropolitan Museum and the Frick Collection possess examples of his work. " ; Ex-Library; 340 pages . more information

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Baltimore,: Walters Art Gallery. 1978. Soft Cover. 57 pages, well illustrated, pictorial wrappers, very good. Designed by Klaus Gemming, New Haven, Connecticut. Composed and bound by The Stinehour Press, Lunenburg, Vermont. Printed by The Meriden Gravure Company, Meriden, Connecticut. . more information

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Bergamo: Istituto Italiano D'Arti Grafiche. Very Good+. 1944. Hardcover. 56, [3] pages, 134 full-page illustrations, 2 folding tables, cloth, 8 by 10 inches, very good. Text in Italian. From the Columbia Encyclopedia, Sixth Edition: " Donato Bramante, 1444-1514, Italian Renaissance architect and painter, b. Near Urbino. His buildings in Rome are considered the most characteristic examples of High Renaissance style. In 1477 he painted frescoes in the municipal palace at Bergamo. In Milan and neighboring cities including Pavia and Vigevano, he executed paintings that recall works by Piero della Francesca and Mantegna. Bramante designed much of the Church of Santa Maria presso San Satiro in Milan; its famous choir, painted in perspective, gives an illusion of great depth, although it is extremely shallow. He may also have planned the east end of Santa Maria delle Grazie, a spacious domed appendage to an older Gothic church. After 1499 he left for Rome, where he designed the simple but graceful cloister for Santa Maria della Pace and the exquisitely proportioned circular Tempietto in the courtyard of San Pietro in Montorio. His other works in Rome include the Belvedere courtyard at the Vatican, designs for a massive Palace of the Tribunals, the choir of Santa Maria del Popolo and other churches, and his own large house with Doric columns rhythmically disposed above a massive rusticated ground floor. His most important work, however, was his plan for St. Peter's, probably conceived as a centrally planned (Greek cross) and domed structure of enormous size and impressiveness. He favored central plans and a sense of noble severity, especially in his Roman period. Although St. Peter's was later remodeled into a longitudinal structure, Bramante is responsible for the essential proportions of the east end, and his design influenced the appearance of many smaller churches. " ; 56 pages . more information

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New York: Tudor Publishing Company,. Very Good in Good dust jacket. 1960. Hard Cover. Translated from the French by James Cleugh. 320 pages, well illustrated (some in color), cloth, dj, very good. On Albrecht Durer, German painter, engraver, and theoretician. From the dust jacket: "Durer was undoubtedly the greatest of all German artists, his work having a profound effect on German artistic thinking for centuries after his death. . . In addition, Marcel Brion has recounted his journeys to Italy and the Netherlands, bringing to them an unusual feeling of actuality and presence, and relating them to his art. The 149 illustrations include all the important works and many minor ones, ranging from the great painting of the Four Apostles at Munich to exquisite drawings and etchings." . more information

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West Chester, PA: Schiffer Publishing. Very Good. 1986. Softcover. 0887400620 . 95 pages, well illustrated in color, pictorial wrappers, 8 by 11 inches, very good. Introduction by Dr. Frederick Dockstader. Drawings by Neil David, Sr. From the preface: "The Kachina doll discussed herein is a carved representation of a ceremonial figure taking part in celebration of the Kachina religion. They are carved, according to Wright, as an effort by the male dancers to pass on to the women some contact with the supernatural which the men have experienced." From Wikipedia website: "A kachina is a spirit being in western Pueblo cosmology and religious practices. The western Pueblo cultures, located in the southwestern United States, include Hopi, Zuni, Tewa Village (on the Hopi Reservation) , Acoma Pueblo, and Laguna Pueblo. In later times, the kachina cult have spread to more eastern Pueblos, e. G. From Laguna to Isleta. The term also refers to the kachina dancers, masked members of the tribe who impersonate kachinas in religious ceremonies, and kachina dolls, wooden dolls representing kachinas which are given as gifts to children. In Hopi, the word qatsina means literally "life bringer", and can be anything that exists in the natural world or cosmos. A kachina can represent anything from a revered ancestor, to an element, a location, a quality, a natural phenomenon, or a concept. There are more than 400 different kachinas in Hopi and Pueblo culture." FW312B ; 95 pages . more information

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New York: M. Barrows and Company. Very Good in Very Good dust jacket. 1961. Hard Cover. 192 pages, well illustrated, cloth, dj, fine. 8-1/2 by 11 inches. From the dj: the collaboration between one of America's leading flower arrangers and two masters of flower photography. The authors of The Magic World of Flower Arranging have widened their already broad outlook to find still more fascinating possibilities for their craft. Illustrated with 18 full-color plates and 115 black-and-white photographs. The authors believe that the whole world is open to those who love and work with flowers. In this book they now explore the resources of arts and crafts of many kinds and periods. The result does indeed open up new horizons for flower arrangers in its new and imaginative application of principles of design common to all fine workmanship and in its appreciation of beauty expressed in many mediums. . more information

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New York: Harry N. Abrams,. Very Good in Very Good dust jacket. 1996. Hard Cover. 0810944294 . Introduction by J. Carter Brown ; essay by Jennifer Montague ; edited by Michael Shapiro. Exhibition held in Atlanta, Ga., at the High Museum of Art, in commemoration of the 1996 Summer Olympics. 320 pages, well illustrated in color, cloth, dj, very good. 9 by 11-1/2 inches. From the dj: Organized according to an innovative concept - exploring the power of art to evoke fundamental human emotions - Rings: Five Passions in World Art brings together an extraordinary assemblage of artworks spanning seven millennia and the principal regions of the world. The 129 masterworks gathered here have been organized to represent the interlocking passions that have fascinated artists the world over: Love in all its many forms, physical, spousal, and parental, its joyous as well as heartbreaking aspects; Anguish, of loss, oppression, physical suffering, and death; Awe, of nature and the supernatural, including expressions of inwardness and spiritual transcendence; Triumph, the thrill of victory in religious, military, and athletic contexts; and Joy, in creation, in aesthetic, visual delight, in music, and in dance. . more information

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Portland, ME: Westbrook College. 1983. Soft Cover. An exhibition at the Joan Whitney Payson Gallery of Art. Westbrook College; Portland, Maine. October 1 through November 13, 1983. 15 pages, pictorial wrappers, very good. . more information

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New York: Harry N. Abrams. 1972. Hard Cover. 155 pages, circa 150 illustrations (many in color, 5 folding), pictorial boards. 9 by 12 inches, very good. . more information

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Berlin: Akademische Verlagsgellschaft Athenaion. Good. 1917. Hard Cover. Series : Handbuch der Kunstwissenschaft : Die Kunst des 19. und 20. Jahrhunderts ; 1. viii,134 pages. 8 color plates, many text illustrations, pictorial boards, 9 by 11 inches, some pages loose otherwise very good. . more information

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Paris: Editions Pierre Tisne. 1958. Hard Cover. Translated by Michel Lee Landa. 141 pages, very well illustrated (many tipped in and in color), cloth, tipped in color illustration on cover, 9 by 11 inches, very good. . more information

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Searsport, ME: Penobscot Marine Museum. Fine. 2000. First Edition. Softcover. 32 pages, 25 color illustrations (of ships) , pictorial wrappers, fine. From the introduction by Daniel Finamore, Peabody Essex Museum: "The paintings of James Edward Buttersworth (1817-1894) have always held a prominent position in the canon of 19th-century Anglo-American marine art. Almost immediately upon his arrival in America, Buttersworth began painting large-format broadside views of famous American clipper ships that were translated into popular lithographic prints by Nathaniel Currier. ~ he was born in London in 1817, the son of a marine painter named Thomas Buttersworth (active 1797-1827). As is to be expected, James Buttersworth's early works closely emulate those of his father. Thomas had served in the Royal Navy and painted in the formal style of the 18th-century British marine tradition. Thomas painted ships of the Napoleonic wars and of the East India Company, but his War of 1812 battle scenes were his most evocative works - the patriotic expressions of a real sailor-artist. "; 32 pages . more information

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Nashville,: Aurora Publishers. Very Good in Poor dust jacket. 1970. Hardcover. 0876950322 . [8], 262 pages, well illustrated (some in color) , cloth, dust jacket frayed otherwise very good. Oblong 12 by 9 inches. From the dust jacket: "The political cartoon was the most powerful editorial weapon of the nineteenth century. Seeking to interpret controversial issues of the time, the political cartoonist wielded his pen with the full courage of his conviction. His attacks ranged from gentle satire to pointed ridicule, tempered with a touch of humor. ~ Most of these cartoons are reproduce from Puck, Judge, and The Left, popular periodicals of the 19th century, and whether they provoke offense or laughter, they are intriguing, invaluable records of political history. " B12-4 ; 262 pages . more information

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New York: Simon & Schuster,. Very Good. 1959. Hard Cover. 2nd printing. 576 pages, well illustrated (some in color), cloth, very good. 8-1/2 by 11 inches. . more information

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Boston: Houghton Mifflin Co.. Good+. 1925. Hardcover. [12], 255 pages, 24 plates, cloth, ex-library with usual library markings otherwise very good. From the preface: "The chronicle of her life in Boston has been pieced together from letters written by her and her friends, from anecdotes she herself told, and from a considerable variety of other sources. " From the Columbia Encyclopedia, Sixth Edition: "Isabella Stewart Gardner, 1840-1924, American art collector, b. New York City. She lived in Boston following her marriage to the financier Jack Gardner. After the Civil War her home became known for brilliant social affairs and as a center for gatherings of painters, literary people, musicians, and other celebrities. Her lifelong interest in art led her to sponsor various contemporary artists and the young connoisseur Bernard Berenson, who advised her in the collecting of many works. Her husband cooperated with her in her plan to create an art museum. Fenway Court was built after the Venetian manner to house their valuable collection and was willed to the city of Boston as a public museum to be preserved without change. ; 255 pages . more information

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