Art, Illustration and Design

Boston: Houghton Mifflin Co.. Fair. 1925. Hard Cover. [12], 255 pages, plates, cloth, ex-library with usual library markings, some shelf wear, text very good. 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. . more information

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Cambridge: Webb Books. Very Good. 1960. Soft Cover. "Discussion on Technical Means and Personal Vision in Painting, Sculpture, and Graphics." 156 pages, illustrations, pictorial wrappers, very good. From the publisher: "By interviews with prominent artists of all schools, as well as an occasional backward glance at work form previous periods, Bernard Chaet has explored the relationship between an artist's chosen materials and technique, and the forms in which he expresses his vision." The artists include Josef Albers, Leonard Baskin, Hyman Bloom, James Brooks, Gabor Peterdi, Seymour Lipton, Conrad Marca-Relli, Pat Adams, Anni Albers, Rudy Pozzatti, Edmond Casarella, Al Blaustein, Elbert Weinberg, Robert Engman, Andrew Petryn, Leonard Bocour, Irwin Rubin, Ernest Boyer, Arnold Bitterman, Alfred Duca, Esther Geller and Panos Ghikas. . more information

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New York: Charles E. Slatkin Galleries. Very Good. 1964. Soft Cover. 48 pages, well illustrated, pictorial wrappers, very good. 8-1/2 by 11 inches. . more information

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New York: Rolton House, Inc.. Fair. 1962. First Edition. Hard Cover. 216 pages, frontispiece in color, 28 plates, , boards, ex-library with usual library markings, some shelf wear to spine and covers, text very good. 8-1/2 by 11 inches. From the introduction: 'How great his influence has been it is impossible to say; as a portrait painter of great distinction, as a designer and instructor in design, as a counselor to manufacturers and to merchants, as the head of the Art Department of Hunter College; he has sown in a large field, and making allowances for all seed that did not quicken, the harvest must have been large.' From Secretaries of War and Secretaries of the Army by William Gardner Bell: Joseph Cummings Chase (1878-1965) was born at Kents Hill, Maine, and studied art at the Pratt Institute in New York and the Pennsylvania Academy of Fine Arts before going on to study under Jean Paul Laurens at the Académie Julien in Paris. He painted military figures from both World Wars-soldiers cited for bravery as well as senior commanders-and various prominent personalities, such as Albert Einstein, Will Rogers, Theodore Roosevelt, and Al Smith. Many of his portraits appeared as illustrations in his two books, My Friends Look Better Than Ever (1950) and Face Value (1962). . more information

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New York: Whittlesey House,. Very Good. 1939. Hard Cover. Xii,190 pages, 48 plates, cloth, very good. 7 by 9-1/2 inches. . more information

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Seoul, Korea,: Kumho Museum of Art. 1993. Soft Cover. 16 leaves, 16 illustrations in color, 1 portrait, wraps, very good. 9-1/2 by 12 inches. Text in Korean and English. Edition of 1000 Printed by Myunglip Printing, Seoul. Sunho Choi was born in Chungju Korea, attended Seoul National University and New York University, exhibiting in solo exhibitions as well as selected group exhibitions in Seoul and New York. 'The language of Sunho Choi's paintings are tacit and contained. Obscured by its context his enclosed idiom has a willed determination to speak without enunciating. Sunho Choi's paintings are defined by this semantic obstacle. To comprehend his paintings the viewer needs to move beyond the simple pleasure of merely recognizing their own aesthetic. When I first viewed Sunho's paintings in New York City during the late 1930's there were pages of text glued directly onto the canvas. He had an obvious facility and his choice of color woked to seduce the viewer and draw him in. The language was literal and the paintings beautiful. He created large, single page manuscripts that suggested a nostalgia for vaguely remembered documents. Sunho's new paintings are more direct and reveal a concern for economy. Characterized by brevity and a concise formal approach, Sunho hides nothing from the viewer. There are no tricks here. The paintings are static; they suggest the pause, the interval, evoking the Japanese notion of Mu. These mute paintings don't describe a single cathartic event but represent a continuous movement, ongoing. Each artist coins a vocabulary that describes his desire and determines the boundaries of his ambition, Sunho Choi's work reveals an artist of drive and possibilities.' Gerry Snyder, Adjunct Professor, Department of Art and Art Professions, New York University. CH1890B . more information

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New York: Christie's. Very Good. 2002. Paperback. 386 pages, well illustrated in color pictorial wrappers, 8-1/2 by 11 inches, very good. Property of Arlington Street Church (Boston) , William and Bernadette Berger, The Forbes Collection, James Lane Jefferson, Gerard and Ines Levesque, Collection of Margaret Ames, Estate of Mr. And Mrs. Royal B. Hassrick, Collection of the late Robert J. Kahn, Estate of Mr. And Mrs. Robert McMuliln, Mr. And Mrs. Albert Sack, Estate of William Serri, Jr, Mark Wenthworth Home, Portsmouth NH. Includes Toby Jugs, John Wood Dodge, Auguste Edouart, John Greenword, Jacob Oberholtzer, Pennsylvania School, American School James G. Tyler, Sebelein Silversmiths, William durgin, Samuel Kirk, Andrew Warner. ; 386 pages . more information

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New York: Christie's. Very Good. 2002. Paperback. 336 pages, well illustrated in color pictorial wrappers, 8-1/2 by 11 inches, very good. Includes property from the Estate of Sophia Harrington Bischof, Descendants of Katherine Minot Channing, the Discovery Museum, the General Mills Collection, Estate of Eleanor Searle Whitney McCollum, Estate of the Honorable Robert McKinney, Estate of Anton Meisner, Morris Museum of Art, Estate of William B. Ruger, Wadsworth Atheneum Museum of Art, the Williams Collection, Tulsa OK; 336 pages . more information

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New York: Christie's. Very Good. 1984. Paperback. Approximately 100 pages, well illustrated (some in color) , pictorial wrappers, 8-15 by 11 inches, fine. Properties of Commodities Corporation Art Collection, Ruth Singer, Estate of Louis Guariglia, Collection of Ruth S. Heyman and David M. Heyman, Estate of Herbert Segerman, etc. Cover illustration: Jim Nutt - "What did he say?" . more information

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Dubuque, IA: Wm. C. Brown Company. 1970. Soft Cover. 0697062023 . Pose Lamb, Consulting Editor. Well illustrated, wrappers, very good. Fifth printing. . more information

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New York: E. P. Dutton,. Good. 1979. First Edition. Hard Cover. 0525078207 . "Published in conjunction with the exhibition 'A century of ceramics in the United States, 1878-1978' at the Everson Museum of Art, Syracuse, New York, May 5-September 23, 1979 ... also at the Renwick Gallery of the National Collection of Fine Arts ... Washington, D.C., November 9, 1979-January 27, 1980." Xvi,372 pages, well illustrated (some in color), cloth, dj, ex-library with usual library markings, lacks rear blank endpaper otherwise very good. 1st edition. From the publisher: "Comprised of over 400 pieces, the majority of which are illustrated in this book, the exhibition and book span one hundred years of creative endeavor. In the decade-by-decade presentation, a variety of styles, philosophies, and techniques of ceramic artists is shown in the first study focusing on the role of ceramics in the modern, decorative, and fine arts of the United States." . more information

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Boston: Houghton Mifflin Co.. 1911. Hard Cover. 60 pages, many illustrations in color, pictorial boards, size is 5 by 9 inches, some shelf wear to covers but otherwise very good. . more information

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Washington, DC,: Dumbarton Oaks. Very Good. 1966. Soft Cover. Studies In Pre-Columbian Art & Archaeology Number Two. 36 pages, 3 folding plates, text illustrations and diagrams, wrappers, very good. From the introduction: "The need for a grand collection of inscriptions becomes increasingly acute as advances in decipherment are made. We therefore present this number of Studies In Pre-Columbian Art & Archaeology as an exercise in Maya epigraphy and art history. It is our hope that, even if our commentary on each of the three reliefs at Dumarton Oaks does not stand up to future criticism, we have at least published these pieces in a form useful to any student of Maya writing and art styles, no matter how different his theoretical bias may be from our own." . more information

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Williamsburg, VA: Colonial Williamsburg Inc.. Very Good. 1940. First Edition. Soft Cover. 50 pages, illustrations, pictorial wrappers, very good. 1st edition. From the foreword by Curator James L. Cogar: "In 1931 Mrs. John D. Rockefeller, Jr. Made her first purchase in the field of American folk art. This purchase was the beginning of a collection which, in the nine years that have elapsed, has won enthusiastic admiration both in this country and abroad. It is doubtful if this collection of American folk art will ever be equaled in scope and quality. ~ Recently Mrs. Rockefeller very generously presented the entire collection to Colonial Williamsburg, Incorporated. It will continue on display at the Ludwell-Paradise House, and it is hoped that it will give as much pleasure to the visitors as it has to those who have had the privilege of working with it and understanding its real meaning. " . more information

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Camden, NJ: Campbell Museum. Good. 1972. Soft Cover. Consultant to the museum: John Meredith Graham II, Silver cataloged by Kathryn C. Buhler, Ceramics cataloged by John C. Austin. Photographs by G. William Holland and Delmore Wenzel. Circa 200 pages, well illustrated (some in color), pictorial wrappers, ex-library with usual library markings otherwise very good. From the introduction: Throughout the past three centuries, the soup tureen has been the most massive and decorate object used in serving food. Recognizing the need for a collection of tureens that is worldwide in scope, and unlimited as to periods and materials, and realizing that these symbols of elegant dining should be preserved, the management of Campbell Soup Company decided to provide the means for forming such a collection. In 1966, the Campbell Museum was chartered by the State of New Jersey as a non-profit, educational institution, and the collection was begun." . more information

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New York: Trustees of Columbia University. Good. 1959. Soft Cover. "A benefit exhibition of Columbia University for the scholarship fund of the Department of Fine Arts and Archaeology, held at M. Knoedler and Company, 14 East 57th Street, New York City, 13 October to 7 November, 1959." Xvi, 94, [2] pages, 40 plates, pictorial wrappers, some shelf wear, text very good. Introduction by Winslow Ames. From the preface by Rudolf Wittkower: "Never before have drawings from the Royal Collection crossed the Atlantic. The occasion is doubly propitious, because for the fist time the American public is given a taste of the finest private collection of Old Master drawings in the world, and because the readiness with which the loan was granted is a welcome token of reaffirmation of the venerable ties between Columbia and the Crown." . more information

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New York: William Morrow. 1985. Hard Cover. 0688025722 . Photographs by Bo Parker. 174 pages, well illustratedin color, cloth, dj, very good. Editor, Karla Olson, Art director: Richard Boddy, Illustrations: Susan Paradis. . more information

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New York: Dover Publications,. Very Good. 1956. Soft Cover. 147 pages, pictorial wrappers, very good. From the publisher: "The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, was a unique fusion of art historian, philosopher, orientalist, linguist, and expositor. His knowledge of the arts and handicrafts of the oriental world was unexcelled, and his many monographs on aspects of oriental art either established or revolutionized entire fields of art. Christian and Oriental Philosophy of Art contains 9 of Coomaraswamy's most stimulating and provocative papers." . more information

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New York: Harry N. Abrams,. Very Good in Good dust jacket. 1977. Hard Cover. 0810920670 . Translated by John Shepley. 160 pages, well illustrated in color, cloth, 8-1/2 by 11 inches, very good. . more information

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New York: Watson- Guptill Publications, Inc. ,. 1983. Soft Cover. 0823021513 . Edited by Betta Vera. Designed by James Craig. Graphic Production by Ellen Greene. 169 pages, very well illustrated, wraps, 8-1/2 inches by 11 inches, very good. From the back cover: For the first time, here is a book that answers all the most-asked questions about graphic design careers. This book, by a leading published authority on graphic design today, will explain how to land a job and establish a career in graphic design in any one of a multitude of areas. Here are a few of the major topics covered in each part: Careers in graphic design; Portfolios, resumes, and interviews, Employment; Graphic Design Studies. GRAPHIC DESIGN CAREER GUIDE COMMERCIAL ART JAMES CRAIG . more information

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New York: Simon & Schuster. Very Good. 1931. Hard Cover. Xxii,524, [2]p pages, plates, cloth, previous owners rubber stamp otherwise very good. From the introduction: "Limited ... to painting in the western world, beginning with Giotto and the occidental tradition, and driving a straight course through successive developments down to and including the latest French modernism and the new mural art of North America." Contents include: Giotto, Florence, Leonardo da Vinci, Velasquez, Goya, Englishmen, Hogarth, Blake, Portrait Painters, Turner, American: French, Delacroix, Daumier, Impressionism, Cezanne, Modernism. . more information

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New York: Citadel Press,. Very Good. 1990. Soft Cover. 0806510595 . 256 pages, well illustrated, pictorial wrappers, 8-1/2 by 11 inches, very good. From the introduction: "There is no doubt that Dick Tracy is America's most famous detective, and after Sherlock Holmes, the second most famous detective in the world. However until now an overview of this landmark comic strip has never been published." . more information

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Las Vegas,: K. C. Publications. 1990. Soft Cover. Introduction by Tom Bahti. "Reproduced from the Second Annual report of the Bureau of Ethnology, 1880-81, the original volume was printed in 1883 by the Government Printing Office, Washington, DC." 42 pages, well illustrated, pictorial wrappers, very good. 9th printing. . more information

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Philadelphia: Pennsylvania Museum of Art. Very Good. 1937. Soft Cover. Introduction in French by Claude Roger-Marx on Daumier and 'Technical Notes on Daumier' by David Rosen and Henri Marceau in English. 55 pages, 28 plates, wrappers, very good. From the Columbia Encyclopedia, Sixth Edition: "Honoré Daumier, 1808-79, French caricaturist, painter, and sculptor. Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre législatif [the legislative paunch] testify to his early direct and bitterly ironic approach. After the suppression of Caricature his work appeared in Charivari, where he mercilessly ridiculed the bourgeois society of his day in a highly realistic graphic style. Relished as cartoons in his time, Daumier's lithographs, of which he produced almost 4,000, are now considered masterpieces. He also painted about 200 small canvases of power and dramatic intensity that were stylistically similar to his lithographs. Among these are Christ and His Disciples (Rijks Mus.); Republic (Louvre); Three Lawyers (Phillips Gall., Washington, D.C.); the romantic Don Quixote and The Third-Class Carriage (both: Metropolitan Mus.). Daumier's sculpture includes over 30 small, painted busts. An example of his work in this medium is a statuette in the Walters Art Gallery, Baltimore. In his last years he suffered from increasing blindness. His financial condition was perilous. Corot put at his disposal a cottage in Valmondois, and it was there that Daumier died." . more information

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New York: American Studio Publications. Very Good. 1943. Hard Cover. 80 pages, illustrations, cloth, very good. From the foreword: So, beyond noting that Gladys Rockmore Davis is one of the very few American woman artists who can paint a nude that does not resemble a Bonwit-Teller manikin, les us merely consider the personal factors that she is petite, brunette, vivacious, wife of famous illustrator Floyd Davis and mother of two chip-off-the block- children. What is significant is that she is one of the strongest painters on the contemporary American art stage, and must be ranked with those leaders who are producing an art indigenous to the spirit of their time and native land. . more information

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Tucson,: Gallery in the Sun Publications. 1966. Hard Cover. 12 leaves, illustrations (some in color), cloth, very good. Signed by author on front blank endpaper. ; Signed by Author . more information

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Boston: Houghton Mifflin Co.. 1999. Hard Cover. 0395528097 . 314 pages, illustrated, cloth, dust jacket, very good. From the Columbia Encyclopedia, Sixth Edition, 'Agnes de Mille, (Agnes George de Mille), (1905-93), American choreographer and dancer, b. New York City; granddaughter of Henry George, daughter of playwright director W. C. de Mille, and niece of Cecil B. De Mille. After her concert debut in 1928, she went to London and worked with Antony Tudor at Marie Rambert’s Ballet Club. At the Ballet Russe de Monte Carlo, she created her first important ballet, Rodeo (1942), which included tap dancing and movements reminiscent of the American West. De Mille brought ballet form to musical comedy, using dance to enhance the plot and move the story along, first in Oklahoma! (1943), and later in such musicals as Bloomer Girl (1944), Carousel (1945), Brigadoon (1947), and Paint Your Wagon (1951). She created dances for the American Ballet Theatre, notably Fall River Legend (1948), and for films. Choreographing some 15 musicals and 21 ballets, she was a significant force in a new American realism that mingled ballet technique, vernacular movement, and modern psychology. Although there was more sentimental pleasantness than true originality in de Mille’s choreography, her works did much to popularize serious dance with the public. In addition, she was an important spokesperson for governmental and private support for the arts at congressional hearings and other public forums. In 1973 de Mille founded the Heritage Dance Theater, which was based at the North Carolina School of the Arts. A talented writer, de Mille was the author of 12 books including To a Young Dancer (1962), The Book of the Dance (1963), and Martha: The Life and Work of Martha Graham (1991).' . more information

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Paris: A. Geoffroy Frères. Very Good. 1908. Soft Cover. xvi,[4], 309, [10 advertising) pages, 25 full-page and 6 double-page plates, many text illustrations, one-third leather, marbled boards and endpapers, original wrappers bound in, ex-library with usual library markings, some chipping to spine, otherwise very good, clean and tight. Missing the four color plates and one black & white plate ("Membre de l'Institut" page 101). An account of uniforms of civil service and military officers in France between 1804 and 1908. Scarce. . more information

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New York: Warner Books,. 1977. Soft Cover. 0446874957 . 76 pages, well illustrated in color, pictorial wraps, very good. From the introduction by Claude Roy, adapted by Peter Stark: The dictionary definition of a heart is: 'Hollow organ keeping up circulation by contracting and dilating.' It weighs about 260 grammes. Revealed by a surgeon, it gleams in its lustrous red sheath and pumps with a heavy sustained vigour. A dull, obstinate organ, doing its job, it bears little more physical resemblance to the heart scrawled on walls or carve on trees by lovers than does the Chinese character for heart, XIN. From one culture to another, the symbol used to denote a heat has been different; in ancient Egypt, an urn; among primitive, an 'oeil du Coeur.' These symbols are so ancient they owe their origins to a period before the invention of the written word; and yet they have survived its invention; ideogram, pictograms, glyphs, hieroglyphs. They had little to do with the raw hearts warriors once plucked from their fallen victims' breasts or, over which in the most modern operating theatres surgeons now pause, knife in hand. They were never intended to be portraits of a sinewy, heaving muscle, the size of a clenched fist. The symbols were symptoms of life, a kind of instantly accessible mental shorthand; a vestless motif, found on wells, in dungeons, in bakers' moulds, in pendants, a design used by tattooists; or represented garlanded with roses or bound with thorns, pierced by arrows, by daggers; nothing to do with the real heart; the heat that just went on beating, mindless as a metronome. . . . more information

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Paris: Editions Pierre Tisne. Very Good. 1958. Hard Cover. Translated by W.J. Strachan. 183 pages, 109 tipped in illustrations, cloth, very good. 7-1/2 by 9-1/2 inches. . more information

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New York: Alfred A. Knopf,. 1957. Hard Cover. 293 pages, 4 plates, cloth, very good. . more information

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Philadelphia: J. B. Lippincott Co. ,. 1904. Hard Cover. 296 pages, 12 plates, boards, cloth back-strip, ex-library, some shelf wear, covers little soiled, else very good. From the Columbia Encyclopedia, Sixth Edition, 'James Abbott McNeill Whistler, (1834-1903), American painter, etcher, wit, and eccentric, b. Lowell, Mass. Whistler was dismissed from West Point for insufficient knowledge of chemistry and from the U.S. Coast and Geodetic Survey, where he had learned etching and map engraving, for erratic attendance. In 1855 he went to Paris, where he acquired a lifelong appreciation for the works of Velázquez and for Asian art, particularly the Japanese print. From these sources he developed a delicate sense of color and design evident in most of his mature works. His early work was largely inspired by the realism of Courbet. Settling in London in 1859, Whistler became known as an etcher, a wit, and a dandy. The Little White Girl (National Gall., Washington, D.C.) brought him his first major success in the Salon des Refusés (1863). To advertise and defend his credo of art for art’s sake, Whistler resorted to elaborate exhibits, lectures, polemics, and more than one lawsuit. In connection with his Falling Rocket: Nocturne in Black and Gold (Detroit Inst. of Arts) he sued Ruskin in 1878 for writing that Whistler asked “two hundred guineas for flinging a pot of paint in the public’s face.” Whistler explained that the harmonious arrangement of light, form, and color was the most significant element of his paintings. To de-emphasize their subjective content, he called them by fanciful, abstract titles such as Nocturne in Black and Gold, and Arrangement in Gray and Black (the famed portrait of the artist’s mother, 1872; Louvre). Whistler won the argument in court but payment of the court costs left him bankrupt. Toward the end of his life Whistler won wide recognition for his admirable draftsmanship, exquisite color, and extreme technical proficiency both as painter and etcher. As an etcher he achieved a high reputation. More than 400 superb plates remain. He also excelled in lithography, watercolor, and pastel. Fine examples of Whistler’s painting are in the galleries of London, Paris, Pittsburgh, Washington, D.C., Chicago, and New York City. The most representative collection is that in the Freer Gallery of Art, Washington, D.C., which also contains an entire room that he decorated in a style that anticipated art nouveau, for the Leyland home in London—the so-called Peacock Room. Nocturne in Green and Gold, Cremorne Gardens at Night, portraits of Sir Henry Irving, Connie Gilchrist, Theodore Duret, and several others are all in the Metropolitan Museum. Other important works are his portrait of Thomas Carlyle (Glasgow) and Old Battersea Bridge (Tate Gall., London). Whistler was the author of brilliant critical essays and aphorisms. The lecture published under the title Ten O’clock (1888) was of enormous influence in art theory. The Gentle Art of Making Enemies (1890) was a clever selection of snippets from the critics, accompanied by acerbic rejoinders from Whistler.' . more information

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New York: Literary Guild,. 1931. Hard Cover. 260 pages, 16 plates, cloth. 1st edition, very good. . more information

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Chicago: Chas. S. Farrar & Co.. 1896. Hard Cover. 206 pages, cloth. 4th edition, revised & enlarged. . more information

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New York: Holt, Rinehart and Winston,. 1969. Hard Cover. 542 pages, circa 1000 illustrations (many full-page and in color), cloth, dust jacket, very good. Measures 8-1/2 by 11-1/2 inches. . more information

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New York: Harry N. Abrams. Very Good in Very Good dust jacket. 1975. Hardcover. 089577030X . 313 pages, well illustrated (many in color, some folding) , cloth, DJ, very good. 9 by 11-1/2 inches. Fourth printing. From the dust jacket: "This beautiful volume on Rockwell's America presents a new approach to the work of a greatly revered artist. Organized into sections such as Young Love, Home and Family, Growing up in America, Americans at Work, and The Sporting Life, it focuses on Rockwell's unique skill not only as an illustrator but also as a commentator on twentieth-century life in the Untied States over a period of more than half a century." Included in this volume are Rockwell paintings and magazine illustrations from his entire career, as well as his designs for calendars, advertisements, posters, and greeting cards. Every one of his covers for the old Saturday Evening Post is reproduced. With 659 illustrations, including 129 in full color, Norman Rockwell's America provides a feast for the eye and is certain to be treasured by Rockwell fans, collectors of Americana, and everyone interested in the development of art in the United States." SR906OS; 313 pages . more information

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New York: Harry N. Abrams. 1975. Hard Cover. 089577030X . 313 pages, well illustrated in color and black & white, cloth, dust jacket, very good. 9-1/2 by 11-1/2 inches. . more information

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New York: Charles Scribner's Sons,. 1892. Hard Cover. 435 pages, 18 plates, 18 pls., cloth. 1st edition, very good. Allston (1779-1843), American artist and author, educated abroad, traveled widely, was a member of the Royal Academy. Had extensive correspondence with noted intellectuals of the day. One of the first American painters to be taken seriously abroad. . more information

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New York: Time-Life Books,. 1970. Hard Cover. 192 pages, well illustrated (mostly color), boards, slipcase, very good. 9 inches by 12 inches. . more information

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New York: The Art Foundation. Fair. 1952. Soft Cover. 130 pages, well illustrated (some in color), pictorial wrappers, some shelf wear otherwise very good. 9 by 12 inches. Includes articles by Bernard Berenson (Of rumor and reflection), Siegfried Giedion (Transparency: primitive and modern), Clement Greenberg (Cross-breeding of modern sculpture), Arnold Hauser (The new outlook), Henry McBride (Half-century or whole cycle?), Herbert Read (Farewell to formalism), Charles Fabens Kelley (Chicago: record years), Dorothy Gees Seckler (Changing means to new ends) and Andre Chastel (Nature-morte coming alive in Paris). Illustrations by El Greco, Follower of Zurbaran, Lucas Cranach the Elder, Rembrandt, Seurat, Toulouse-Lautrec, Degas and Picasso. . more information

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New York: Metropolitan Museum of Art. Good. 1985. Soft Cover. 56 pages, well illustrated (most in color), pictorial wrappers, 8-1/2 by 11 inches. Notes and commentaries on examples in the collection: Principal Liturgical Objects; Secondary Liturgical Objects; Service Books; and Reliquaries. Director's Note by Philippe de Montebello; bibliography. Biblical references are to the Douay Version. . more information

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London: Bloomsbury Books. Very Good in Good dust jacket. 1974. Hard Cover. 1870630521 . 132 pages, well illustrated (many in color), cloth, dj, 8-1/2 by 11 inches, very good. From the dj: The fusion of fantasy and prediction with science in the last one hundred years gave birth to a unique literary genre with an unparalleled and still growing popularity - Science Fiction. While much has been written on the history and development of the SF story, nothing has yet been published exploring that essential accompaniment - the illustration. . . This neglect has now been rectified with Anthony Frewin's One Hundred Years of Science Fiction Illustration, the first comprehensive collection to document fully the rich and rewarding project of 'futurate art.' . more information

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New York: Franklin Watts Inc. ,. Good. 1969. Hard Cover. 63 pages, well illustrated, pictorial boards, ex-library with usual library markings otherwise very good. From the preface: Have you ever tried soap carving? If you haven't you are missing a lot of fun. At first it may sound incredible that an object so commonplace as a bar of soap could be made into something beautiful. After considering soap all your life as ust a means of getting clean, it may come as a pleasant surprise that it has artistic possibilities. A cake of soap holds all the potential thrill of sculpture in stone or wood. . more information

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Englewood Cliffs, NJ.: Prentice Hall,. Very Good. 1981. Soft Cover. 0131703730 . 245 pages, well illustrated, diagrams, wrappers, 8-1/2 by 11 inches, very good. 1st edition. . more information

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New York: W. W. Norton & Co. ,. Fair. 1944. First Edition. Hard Cover. 259 pages, 8 plates, cloth, ex-library with usual library markings, covers somewhat soiled and faded, text very good. From the publisher: "This biography is written by a man, himself Iowa born and raised, who knew Grant Wood at Iowa City when the artist was teaching at the University. He sees Grant Wood as essentially one with his background, the people, the homely objects and rich earth of his native Midwest." From the Columbia Encyclopedia, Sixth Edition: "Grant Wood, 1891-1942, American painter, studied at the Art Institute of Chicago and in Paris. In Munich in 1928 he was decisively influenced by German and Flemish primitive painting. Subsequently in the 1930s he created his "American scene" works in which stern people and stylized landscapes offer rigid, decorative images of the rural Midwest. He taught at the State Univ. of Iowa and was director of WPA art projects in Iowa. His American Gothic (Art Inst., Chicago) and Daughters of Revolution have been many times reproduced; other works include Stone City (Joslyn Art Mus., Omaha, Nebr.) and a series of murals at Iowa State Univ." . more information

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Kurt Wolff: Munchen. Very Good. 1920. Hard Cover. 240 pages, plates, cloth, very good. 1st German edition. Translated from the French original Avant et après. German translation of the Marquesa islands journals of Paul Gauguin. From the foreword: "Ungern nur entschließe ich mich, diesem Marquesischen Tagebuch Paul Gaugins ein Vorword voranzuschicken, und beabischtige auch keineswegs, mit dem ublichen Pathos auf seinen Wert, seinen Esprit und Charme hinzuweisen. Weil eswertvoll, witzig und reizvoll ist, ubertrug and veroffentliche ich dieses Buch, das fur sich selber sprechen wird." . more information

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Paris: Editions D'Art Et Industrie. Very Good. 1955. Hard Cover. 84 leaves, 16 tipped in color plates, many text illustrations, die-cut covers, cloth, 8-1/2 by 11 inches, very good. The female form in modern art. Text in French. "La femme dans l'art! Ce theme est susceptible d'etre traite de differentes facons. De nombreux ecrivains ont etudie la femme a travers les ouvrages des peintres et des sculpteurs. Leur objet etait de decouvrir les rapports directs ou indirects entre l'art et les moeurs, entre l'art et les letters, entre l'art et la morale. Les peoples et les époques se revelent et nous livrent leur secret dans la maniere d'interpreter la femme, son corps et son visage. La femme est l'attribut d'une civilization qui lui impose un port et un maintien." . more information

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New York: E. P. Dutton & Co. ,. 1945. Hard Cover. Engravings by the author. 256 pages, text illustrations, cloth, very good. From the Oxford Dictionary of Art: Gibbings, Robert (1889 - 1958) British wood-engraver, book designer, and travel writer. He founded the Society of Wood Engravers in 1919 and ran the Golden Cockerell Press from 1924 to 1933, illustrating many of its books himself and also employing engravers such as Eric Gill and Eric Ravilious. He went through a nudist phase at about this time and sometimes typeset in the nude. Gibbings’s books typically combine topographical impressions, personal anecdote, and observations of nature, illustrated with his own engravings; they include two on the River Thames-Sweet Thames Run Softly (1940) and Till I End My Song (1957). . more information

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New York: Macmillan Co.. 1940. Hard Cover. 687 pages, frontispiece, many illustrations and diagrams, cloth, very good. Sixth printing. . more information

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New York: Macmillan Publishing Co. ,. 1985. Hard Cover. 002342690X . 868 pages, well illustrated, diagrams, boards, very good. 8-1/2 by 11 inches. . more information

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