Art

Hardcover. London, Penguin Books, 1st, 1965, Book: Very Good, Dust Jacket: Good, Hardcover in an edgeworn dust jacket. 390 pages, 192 bw plates at rear plus line diagrams and maps. No slipcase.

Hardcover. Germany, Daab, 1st, 2012, Book: Very Good, Dust Jacket: None, 320 pages. Hardcover no dust jacket. Like new in publisher's shrink-wrap.. The Label Book of Clothing Culture presents over 40 TOP labels within the fashion business which are among the very best in the world. Great names such as Barbour and Brioni stand next to numerous 'Hidden Champions' of clothing culture. But this extraordinary coffee-table book is about much more than mere fashion, it also presents craftsmanship and history, style and quality; it highlights those companies that have committed themselves to this tradition with heart and soul. The editor and enthusiastic art collector, Dr. Dr. Thomas Rusche, knows what he is talking about, since it is he that coined the term 'clothing culture.' He shares his knowledge of the true champions of the business and provides interesting background information about the companies presented here.

Hardcover. College Station, TX, Texas A&M University Press, 1st, 1985, Book: Very Good, Dust Jacket: Very Good, Hardcover, 148 pages. Collection of 61 full-page color plates of Frank Reaugh's work devoted to Texas. Introduction by Donald L. Weismann. Very good condition, very slight rubbing on the back of the dust jacket, ends of the spine have some wrinkling. The Texas landscape and the legendary longhorn are equally elegant in the beautiful impressionistic artwork of Frank Reaugh. This volume contains a large selection of impressionistic work by Reaugh, who began painting out on the prairies near Dallas in the late 1800s.

Softcover. NY, Babcock Galleries, 1s, 2010, Book: Very Good, Dust Jacket: None, Softcover, 48 pages illustrated in color. Published in conjunction with the exhibition of the same name; Includes images of and images by African-Americans, including William Sidney Mount, Thomas Worth, Edward Mitchell Bannister, Lyell E. Carr, Sol Eytinge, Eastman Johnson, Sheldon Orrin Parsons, and others. Clean copy.

Softcover. Warrensburg, MO, Pleiades Press, 1st, 2016, Book: Very Good, Dust Jacket: None, Pictorial wraps, 80 pages illustrated in color and b&w. SIGNED BY STONE on the title page. Beautiful mutants, vagabond scuba divers, lovers with disordered gorilla hearts: These poetry comics place the lyric and the grotesque, the elegant and the despondent, side by side in one emotionally intense panel after another. At the vanguard of a movement that embraces our increasingly visual culture and believes poetry has an essential place therein, Bianca Stone redefines how we think about poetry, what we expect from comics, and how we interpret our own lives.

Hardcover. Richmond, Va., Candela Books, 1st, 2010, Book: Good, Dust Jacket: None, 100 pages. Hardcover. Extensive b&w photography throughout. Tipped in plate on front cover. Small stain to front cover, otherwise clean, tight copy. Working primarily from the 1940s through the early 1960s, the American photographer Gita Lenz (1910-2011) made documents of New York street life that won her early recognition and inclusion in two group shows curated by Edward Steichen for The Museum of Modern Art, a three-person show at the Brooklyn Museum and numerous articles and features in photography magazines of the time. Equally given to inflecting her portraiture with hints of social realism one on hand, and surrealism on the other, and also influenced by her close friend Aaron Siskind, Lenz produced abstract compositions, city still lifes, surreal still lifes and intimate portraits. She receded from view in the 1960s as financial demands impeded her practice, but in 2002, a chance meeting with photographer Gordon Stettinius led to the retrieval of this small but charming body of work, and the publication of this superbly printed first monograph.

Hardcover. New York, Doubleday, Page, and Company, 1st, 1925, Book: Fair, Dust Jacket: None, Volume to accompany the American Wing of the Metropolitan Museum of Art in New York. 302 pp. Features 20 color plates in addition to 217 other black/white illustrations (mostly photographs). Covers beginnings of New England through the Early Days of the Republic. Development of Interior Architecture and House Decoration from craftsmen influenced by old world style and the evolution.Shows significant wear due to age and water damage. Discoloration throughout, though text still entirely legible and color still vivid in the plates. Edges show significant wear as well. Prior owner's name and date (1929) written in ink twice inside the cover.

Hardcover. NY, Harry N. Abrams, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 128 pages, illustrated throughout in color and b&w, INSCRIBED BY AUTHOR on front end paper. Light shelf-wear to dust jacket with small crumbled tear to rear cover. Clean, tight copy.

Softcover. San Francisco, Rip Off Press, reprint., 1980, Book: Very Good, Dust Jacket: None, Softcover, 52 pages including semi-glossy color covers and b/w interior. Saddle-stapled wraps, $1.25 cover price. This is one of the five small collections of those strips. Clean, bright copy

Softcover. New York, Peter T. Tunney , 1st, 1992, Book: Very Good, Dust Jacket: None, Non-paginated. Softcover. Extensive color photographs throughout. Illustrated end papers. Mild soil to back cover, otherwise clean, tight copy.

Hardcover. New York, Watson-Guptill, 1st, 1970, Book: Very Good, Dust Jacket: Very Good, Hardcover, 88 pages. 32 plates in full color. Takes us past the image of Sargent, portrait painter of Edwardian and Georgian high society, and views instead his vast talent as a watercolorist. Blue cloth, silver lettering to spine and front color. Price clipped. Previous owner's inscription in front. Pictorial dust jacket with two minor sealed up tears, otherwise a very clean, tight and crisp copy.

Softcover. Acoustic Learning, 1st, 2024, Book: Very Good, Dust Jacket: None, Softcover, 287 pages in b&w and color, 13 X 10". Julius Caesar has been beaten by the Britons and only Alley can come to the rescue, as he dons armor and becomes a warrior! Back in the modern day, Doc Wonmug is targeted by international gangsters! These stories and more are in this big oversized book, presenting two full years of daily strips and 78 color Sundays. Clean copy. DOMESTIC SHIPPING ONLY.

Softcover. San Francisco, Rip Off Press, 1st, 1984, Book: Very Good, Dust Jacket: None, Softcover, 32 pages plus color wraps. Staple bound, $2.00 cover price. Color art by Selton inside- "The Idiots Abroad", part 1. Clean, bright copy.

Hardcover. Columbia SC, Univ of South Carolina Pr, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, 111 pages. Hardcover. B&w photographs throughout. Clean, unmarked copy with only minor wear to dust jacket.

Softcover. New York, Abbeville Press, 1st, 1983, Book: Very Good, Dust Jacket: None, Volume of the definitive work of George Segal. Softcover, 128 pages, 118 b&w and color illustrations. In very good condition, shows some rubbing on cover. Chronology. Bibliography. Index. Discusses the full range of Segal's work. Includes photographs of the artist at work. Topics include early cast sculpture, fragments and painted plasters, public commissions, and more. George Segal (1924-2000) was an American painter and sculptor associated with the Pop Art movement.

Hardcover. NY, George Braziller, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Illustrated with b/w and color images throughout. 119 pages. Oblong format. The Scrovegno Chapel is reknown for a fresco cycle by Giotto, completed around 1305 and an important masterpiece of Western art. In 2021, the chapel was declared part of the UNESCO World Heritage Site of 14th-century fresco cycles composed of 8 historical buildings in Padua city centre. The Scrovegni Chapel contains the most important frescoes that marked the beginning of a revolution in mural painting and influenced fresco technique, style, and content for a whole century. Short inscription on front fly leaf. Dust jacket with minor wear. Clean copy.

Softcover. NY, Life Publishing, 1926, Book: Good, Dust Jacket: None, Softcover, 36 pages plus cover. Color cover by Garrett Price: A Quick Pick-Up. Magazine was once folded so a crease throughout. 3 color ads plus b/w cartoons by Al Frueh, Art Young, John Held, others.

Hardcover. UK, PS publishers, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover with no dust jacket. Clean, unmarked copy with only minor wear to covers. Color and Black and white pictures throughout. She may still be everyone's favourite yellow-tressed leopard-skin-clad Jungle Jane but, having made her first appearance almost 80 years ago (courtesy of Will Eisner and 'Jerry' Iger in the British mag Wags #1), Sheena, Queen of the Jungle could be forgiven for being somewhat less spritely swinging through the trees righting wrongs and wielding her knife. In 1938, she made it Stateside with her first showing in Jungle Comics #1 where she settled happily in every issue (plus a decade in her own title) until April 1953. There have been other incarnations, of course, but it's this classic material that strikes at the very heart of Good Girl Art! Collects issues #11-18, Spring 1951 to Winter 1952.

Hardcover. Charlottesville, NC, University Press of Virginia, 1st, 1983, Book: Near Fine, Dust Jacket: Near Fine, 140 pages + 163 b&w prints. Monograph of a painter who carried the standard of realism through the 20th century while the artistic movement raced toward abstraction. Red cloth with gilt lettering to spine and white pictorial dust jacket. Like new, in shrinkwrap.

Hardcover. NY, Land's End Press, 1st, 1968, Book: Very Good, Dust Jacket: Fair, Hardcover, 1968 stated on both the cover and copyright pages. 13 x 9.5 inches, black cloth with gilt design and lettering to the cover and spine. 288 pages. Wrapped in a worn and chipped dust-jacket with a nude illustration in black and white covering the lower 2/5 of the cover. This book provides a selection of Rops' graphics with notes on his life by Lee Revens. Felicien Rops (1833 1898) was a prominent figure in 19th-century Belgium. His art is characterized by satirical, demonic, and erotic themes, often challenging societal norms and hypocrisy. Rops works hold a mirror to contemporary society, exposing its repressive standards and moral contradictions. His art oscillates between sensuality, death, and satanism, making him a key figure in the late 19th-century decadent movement. No markings.

Softcover. Park Forest IL, Ken Pierce, 1st, 1983, Book: Very Good, Dust Jacket: None, Softcover, 80 pages, b&w art. Reprinting of the 1937, 1941 and 1942 Abbie an' Slats comic strip. Introduction by Herb Galewitz. Clean, bright copy.

Softcover. Santa Monica, CA, Smart Art Press, 1st, 1996, Book: Very Good, Dust Jacket: None, Softcover exhibition catalog. 34 items. Published for an exhibition of Burroughs' paintings from 1987 to 1996. Text and art by Burroughs, with color and B/W reproductions. Additional texts by Timothy Leary and Benjamin Weissman. No hardback issued. A scarce Burroughs title, in mint condition. 52 pages. Clean, unmarked copy with only minor to wrappers.

Hardcover. Boston, The Taylor Press, 1st, 1915, Book: Very Good, Dust Jacket: None, Hardcover, 285 pages. Brown cloth covers, b&w frontispiece. Previous owner's bookplate to blank endpaper, light wear to covers, edges and spine; overall a very clean, tight copy.

Softcover. London, Knockabout Comics, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 624 pages. Illustrated wraps. Color and b&w art by Shelton. The definitive collection of the classic underground comic strip.

Softcover. US, Kitchen Sink Pr (Nrt), reprint, 1989, Book: Very Good, Dust Jacket: None, 159 pages. Light edgewear to wrappers. Black and white comics throughout.

Softcover. Austin, University of Texas Press, First, 1965, Book: Very Good, Dust Jacket: None, Softcover, 68 pages, profusely illustrated in b/w and color. Slight edgewear otherwise tight, clean copy.

Hardcover. NY, Taschen, reprint, 2025, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Color frontispiece. Black & white illustrations throughout on every page. 11" high X 8" wide, 448 pages. The perfect tribute to the world's favorite dirty old man. It spans the years 1982 to 1989, a period when the artist was comfortably ensconced in rural California, raising his young daughter Sophie, who appears throughout this volume. But Crumb was still Crumb, declaring in one drawing, above a lovingly rendered tree, "As I get older I get more twisted, convoluted, depraved, cynical, embittered, self-centered, jaded, debauched, ruthless, greedy, conceited, set-in-my-ways, long-winded, absent-minded, prejudiced, closed-minded, misanthropic, nervous..." To prove this self-flagellating analysis he fills the pages with his signature perversions (in country settings), scathing social commentary, cruel self-portraits, experimental cubism... and some lovely sylvan landscape. His mastery of the Rapidograph pen is at its zenith here in his 40s, Clean, still in publisher's shrinkwrap.

Softcover. London, Anthony d'Offay Gallery, 1st, 1985, Book: Very Good, Dust Jacket: None, Softcover, unpaginated (46 pages), catalogue of 64 works all illustrated in b/w, 15 full-page color plates and essay 'After Image' by Will Ameringer. Interesting catalog of rarely seen works on paper by Smith, lent by the artist's daughters for this exhibition. Clean copy.

Softcover. New York , Poster Auctions International, 1st, 2016, Book: Very Good, Dust Jacket: None, Unpaginated. Softcover. Color pictures throughout. Light edgewear to wrappers.

Hardcover. New York , William E. Rudge's Sons, 1st, 1943, Book: Very Good, Dust Jacket: None, Hardcover, 187 pages, b&w illustrations, 2-color designs. Tan cloth with gilt title front, spine and back.

Hardcover. NY, Villard Books, 1st, 1995, Book: Very Good, Dust Jacket: None, Oblong 6-5/8 inches high by 8-3/4 inches wide. Hardcover, bound in color pictorial white boards. [140] unnumbered pages, with full-page illustrations of Edward Koren's cartoons. Clean copy.

Softcover. Santa Fe, Museum of New Mexico Press, 1st revised, 2003, Book: Very Good, Dust Jacket: None, Softcover, pages. Maria, the potter of San Ildefonso (1887-1981), is not only the most famous of Pueblo Indian potters but ranks among the best of international potters. Her work Is collected and exhibited around the world, and more than any other artist, Maria Martinez brought "signatures" to Indian art. She and other members of her family revived a dying art form and kindled a renaissance in pottery for all the Pueblos. She raised this regional art to one of international acclaim. This lavishly illustrated book draws from Spivey's 1979 classic work. Featuring entirely new photography and 120 added pots as well as a significantly expanded text, this volume considers the entirety of this artist's immense oeuvre and important works and developments in her collaboration with Julian, and after his death, with her daughter-in-law Santana, son Popovi Da, and grandson Tony Da, bringing the legacy of Maria into the bright future of Pueblo ceramics.

Hardcover. Boston, MA, Houghton Mifflin Harcourt, 1st, 2006, Book: Very Good, Dust Jacket: None, 320 pages. Hardcover with no dust jacket. Clean, unmarked copy with only minor wear to dust jacket. Color comics in center. Celebrating the best in graphic storytelling and literary comics, a diverse collection, guest edited by the award-winning author of The Quitter and American Splendor, features excerpts from graphic novels, pamphlet comics, newspapers, magazines, mini-comics, and the Web, from Robert Crumb, Chris Ware, Kim Deitch, Jaime Hernandez, Alison Bechdel, Joe Sacco, and others.

Softcover. Washington, DC, National Gallery of Art, 1st, 1982, Book: Very Good, Dust Jacket: None, Exhibition catalog. 225 pages. 8 plates, B&W photographs throughout. pictorial cover with slight bending of back bottom corner and slight wear to spine. Frontispiece. Overall, a clean, tight copy.

Hardcover. NY, Pantheon, 1st, 2004, Book: Very Good, Dust Jacket: None, Tall vertically oblong folio (14 1/2" ) board book. Speigelman addresses his personal experiences in New York during the attack on the twin towers as he, his wife and daughter walked in New York. He decided on this large format, almost elephant folio sized, board book in his unique graphic illustrated style. A unique attempt at coming to grips with the tragic and frightening events of nine eleven. DUE TO SIZE, DOMESTIC SHIPPING ONLY.

UK, Cambridge University Press, 1st, 1927, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with gilt decoration, lettering, 56 pages plus 111 b&w plates. This 1927 book presents an accessible guide to Gothic foliage sculpture, aimed at visitors to ancient English churches. 186 pages total. Decorative bookplate inside front cover otherwise clean copy.

Softcover. West Palm Beach, Norton Museum of Art, 1st, 1997, Book: Very Good, Dust Jacket: None, 120 pages. 26 color plates, 60 b&w illustrations. Softcover with light edgewear on wrappers. Published in conjunction with a major retrospective exhibition (opening at National Gallery of Art, Washington, in June 2012, then travelling to The Metropolitan Museum of Art, New York, in November 2012, before moving to Royal Academy of Arts.

Softcover. Memphis, TN, The Dixon Gallery and Gardens, 1st, 1982, Book: Very Good, Dust Jacket: None, Softcover, 206 pages. With newspaper clipping slipped in. Illustrated in B&W and color. overall tight and clean copy. The narrative essays chart the routes taken by the American painters as they progressed from their experience at French communities to the re-establishment of their careers on native soil. Also included with the essays are the vivid artwork of these painters.

Softcover. NY, Stephen Haller Gallery, 1st, 2004, Book: Very Good, Dust Jacket: None, Softcover, 20 pages, 12 color plates of the artist's paintings. Essay by Joyce B. Korotkin. Clean copy.

Softcover. Boston, Kitchen Sink Press/Little Brown, 1st pbk, 1997, Book: Very Good, Dust Jacket: None, Softcover, 250vpages. This first-ever retrospective of the legendary underground artist's work features his characters Keep on Truckin', Fritz the Cat, Devil Girl, and Mr. Natural, as well as unpublished rarities and personal reflections from the artist himself. Bright, clean copy.

Hardcover. St. Ann's Press, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, 130 pages. Hardcover with dust jacket. Like new in publisher's shrink-wrap. This first monograph on Fee accompanies two major gallery exhibitions in California. Fee has done editorial photography for such publications as Vanity Fair and Entertainment Weekly, but this publication focuses on his fine arts work from the past ten years. Fee physically manipulates his photographs and negatives in the darkroom, adding toners and chemical stains that result in beautiful glows of bronze and blue. This effect adds to a sense of decay in his dark, iconographic imagery of America, featured in the photos that make up the first half of this book. Also included are collaborations between Fee and Beat sculptor George Herms.

Softcover. Zurich, Graphis Press, 1st, 1976, Book: Very Good, Dust Jacket: None, English, German and French text. B&w and color illustrations. Very good. Swiss Posters 1976. Kodak Colour Calender Contest, 1977. Fred Otnes. 1.international Animated Film Festival in Ottawa. Trends in Jewellery Design in Europe.

Softcover. NY, Andre Emmerich Gallery, 1st, 1990, Book: Very Good, Dust Jacket: None, Softcover, 32 pages with color illustrations. Introduction by Carter Ratcliff. Name on inside front cover, otherwise clean.

Softcover. New Haven CT, Yale University Press, 3rd pr., 1995, Book: Very Good, Dust Jacket: None, Softcover, illustrated wrappers. 558 pages, 240 b/w + 20 color plates. In this engrossing book, an eminent art historian surveys the ways that historians have made use of visual sources--sculptures, paintings, coins, and other relics--in their attempts to understand and visualize the past. Francis Haskell examines the specific objects that were used and discusses a wide range of historians - from the sixteenth and seventeenth centuries to later writers such as Michelet, Burckhardt, and Huizinga who made inferences from the visual arts to indicate the whole mentality of an age. Clean copy.

Softcover. New York, Charta, 1st, 2006, Book: Very Good, Dust Jacket: None, 95 pages. Softcover. Very clean, unmarked copy still in shrink wrap. 80 photographs in black and white. A collection of portraits from throughout the 1960's.

Hardcover. Geneva, Switzerland, Nagel Publishers, 1st, 1965, Book: Good, Dust Jacket: Good, Hardcover, 146 pages, with color plates and illustrations. 789 of 3000 limited edition first printing. Light edgewear and rubbing to dust jacket. Minor foxing throughout in text areas, but illustrations are unaffected. Some creased color plates. Tight binding and overall good condition.

Softcover. Ketchum, Idaho, Computer Lab, 1st, Book: Very Good, Dust Jacket: None, Softcover, 32 pages illustrated in b&w.

Hardcover. Cambridge MA, MIT Press, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Surrealism has long been seen as its founder, Andre Breton, wanted it to be seen: as a movement of love and liberation. In Compulsive Beauty, Foster reads surrealism from its other, darker side: as an art given over to the uncanny, to the compulsion to repeat and the drive toward death. To this end Foster first restages the difficult encounter of surrealism with Freudian psychoanalysis, then redefines the crucial categories of surrealism-the marvelous, convulsive beauty, objective chance-in terms of the Freudian uncanny, or the return of familar things made strange by repression. Next, with the art of Giorgio de Chirico, Max Ernst, and Alberto Giacometti in mind, Foster develops a theory of the surrealist image as a working over of a primal fantasy. This leads him finally to propose as a summa of surrealism a body of work often shunted to its margins: the dolls of Hans Bellmer, so many traumatic tableaux that point to difficult connections not only between sadism and masochism butal so between surrealism and fascism. At this point Compulsive Beauty turns to the social dimension of the surrealist uncanny. First Foster reads the surrealist repertoire of automatons and mannequins as a reflection on the uncanny processes of mechanization and commodification. Then he considers the surrealist use of outmoded images as an attempt to work through the historical repression effected by these same processes. In a brief conclusion he discusses the fate of surrealism today in a world become surrealistic. Compulsive Beauty not only offers a deconstructive reading of surrealism, long neglected by Anglo-American art history, but also participates in a postmodern reconsideration of modernism, the dominant accounts of which have obscured its involvements in desire and trauma, capitalist shock and technological development.

Hardcover. New York, Princeton Architectral Press, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, 192 pages. Hardcover with dust jacket. Very clean, unmarked copy with some minor wear to dust jacket edges. Otherwise tight copy. A collection of black and white, and color photographs from the Maresca collection housed at the Newark Musuem, featuring images from the 1920s through the 1960s.

Hardcover. New York, State University of New York, 1st, 1967, Book: Very Good, Dust Jacket: Good, Hardcover, 96 pages, illustrated throughout. Dust jacket edge wear and fade, minor rub, otherwise, very clean and tight copy.Here at long last is the study of the life and paintings of Ralph Earl, the colorful eighteenth-century American artist whose pictures hang in the great galleries but about whom relatively little has appeared in print. A pioneer landscapist in a day when portraiture was the vogue, a Tory in Revolutionary New England, he nevertheless captured the stance and spirit of the new nation in the first decades after the Revolution. He portrayed the merchants and civic leaders of the time, often with their families, in their homes, orchards, business establishments--and the result is a record of post-Revolutionary American dress, design, and decoration as well as face and figure. Professor Goodrich has tracked down and assembled forty-one of Earl's paintings for this book, providing the first opportunity of viewing the artist's work as a body. The pictures range from a youthful re-creation of the Battle of Concord, through portraits done in England (whence he fled during the Revolution and which enabled him to absorb the techniques of the great eighteenth-century English portraitists), to his invaluable paintings of General von Steuben, Mrs. Alexander Hamilton, and other figures in the young United States.