Art

Hardcover. US, Andrews McMeel Publishing, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 323 pages, illustrated throughout in color and b&w. Light edgewear to dust jacket, otherwise a clean, tight copy.

Hardcover. Heidelberg, Germany, Kehrer Verlag, 1st, 2014, Book: Very Good, Dust Jacket: None, 112 pages. Hardcover with no dust jacket. Very clean, unmarked copy still in shrink wrap. Many color photographs of secret marijuana growing communities. Published under the pseudonym "H. Lee" to protect those whom she photographed.

Hardcover. Jackson MS, University Press of Mississippi, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, 172 pages, filled with impressive folk art in full color on just about every page. Three essays on the collection by Marshall and Lynne E. Spriggs, High Museum of Art's Curator of Folk Art, Joanne Cubbs, the museum's first curator of folk art, and Lynd Roscoe Hartigan, Chief Curator at the Smithsonian American Art Museum. Forword by Michael E. Shapiro, director of the High Museum of Art. In a bright dust jacket.

Softcover. Bloomington IN, Indiana University Press/Electa , 1st, 1996, Book: Very Good, Dust Jacket: None, 253 pages, color and b&w illustrations. Softcover in excellent, clean condition. Domenico Tiepolo, 1727-1804, the son of Giambattista, left a corpus of drawings which show him to be one of the talented Venetian artists of the 18th century. 176 drawings plus many photographs of details and of paintings.

Hardcover. New York, Dutton, 1st, 1965, Book: Very Good, Dust Jacket: None, 190 pages. Yellow cover boards, no dust jacket. Black & white cartoons selected by the editors of the Saturday Evening Post.

Softcover. Carmel CA , Friends of Photography Bookstore, 1st, 1981, Book: Good, Dust Jacket: None, 55 pages. Softcover. Extensive b&w photography throughout. Some rubbing to spine and corners. Some soil to covers, otherwise clean, tight copy. Untitled, No. 25 in the Friends of Photography publications on serious photography. Includes Harry Callahan's distinguished career in photography, "Lee Friedlander, Photographer of 1980," Mark Klett, the 1980 Ferguson Grant recipient, Beaumont Newhall on John B. Green, Anita Ventura Mozley on Imogen Cunningham's beginnings, and more.

Hardcover. Hatje Cantz, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover. Published to coincide with the Gauguin exhibition that traveled between Cleveland and the Van Gogh Museum in Amsterdam. Lavishly illustrated with 254 images, of which 234 are in color.

Hardcover. NY, Doubleday and Co., 1st, 1964, Book: Very Good, Dust Jacket: None, Hardcover, glossy boards with Picasso art on covers, white cloth spine with gilt lettering.. Illustrated with 282 photos including 52 in full color by Quinn. No wraparound title band or acetate jacket. Mild soil to covers, name on front fly leaf, front hinge partially cracked, otherwise clean. DOMESTIC SHIPPING ONLY.

Hardcover. Germany, Taschen, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, 3-vol set in slip case. Hardcovers. Like new in publisher's shrink-wrap. Editor Dian Hanson traces the fascinating development of the genre from 1900 to 1969 in three compact, informative volumes. In Volume 1 you'll learn about the first magazines that appeared around 1900 in France, Germany, and the U.S., and follow the development of the genre through the First and Second World Wars. Covered are men's magazines masquerading as movie magazines, humor magazines, art magazines, nudist magazines, and "spicy" fiction. Volume 2 documents the proliferation of pin-up magazines following World War II, most notably a little item called Playboy that debuted in December 1953 and spawned dozens of imitators. This volume also charts the emergence of English men's magazines, fetish magazines, and the top five covergirls of the 1950s. Volume 3 begins with an explosion of new American pin-up magazines following the loosening of U.S. obscenity laws, and continues with French titles in decline, England going pervy; nudists going hippy, and Germany going pervy, hippy and political.

Softcover. NY, Praeger, 1st, 1974, Book: Very Good, Dust Jacket: None, Softcover, 264 pages, b&w and color plates. Very light edge wear, else a very clean, tight copy.

Hardcover. London, Thames and Hudson, 1st, 1978, Book: Very Good, Dust Jacket: Very Good, 207 pages. Hardcover with gilt titles to spine. Full page, full color & black & white illustrations throughout. Features 131 illustrations, 31 in full color. Dust jacket with age toning to edges, tears to corners one closed tear (2 inches) to back of jacket. Otherwise clean, bright & unmarked.

Hardcover. Berlin, Gestalten Verlag, 1st, 2008, Book: Very Good, Dust Jacket: None, Hardcover, 144 pages, color photographs. Limited text. The Velvet Hammer Burlesque has put the "tease" back into striptease. based in Los Angeles, the world famous troupe kick started the current era of Neo-Burlesque reviving the traditional American genre and elevating the classical performance. This book presents photographs of the group's voluptuous ensemble of dancers and performers. Like new in publisher's shrink-wrap.

Softcover. NY, St. Martins Griffin, 1st Wraps, 1998, Book: Very Good, Dust Jacket: None, Softcover, Illustrated in color, black & white by Crumb, 182 pages. Accolades and Reflections on the Controversial R. Crumb: "Robert Crumb--lurid, pornographic, sexy, twisted, hilarious, and depraved. The greatest American satirist is also its finest draftsman." --Joe Coleman"God bless Crumb. I've always been happy that there was someone as sick and twisted as I am." --George Carlin"I can think of no one more unqualified to say anything about Robert Crumb's artwork than myself. In fact, it's useless for most cartoonists of my generation to do so; without him, there wouldn't "be" any cartoonists of my generation." --Chris Ware, "The Acme Novelty Library"

Hardcover. Boston, David Godine, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 128 pages. Color illustrations. Edward Ardizzone, one of England's most beloved artists and illustrators, was also an artist who could never resist the temptation of filling his letters to family and friends with enchanting vignettes and sketches. Like all of his work, these were done quickly, humorously, and lovingly, with a sure touch for outline, wash, and color that always distinguished his work. For the first time, here is a selection of those letters, envelopes, and illustrations, selected and edited by Judy Taylor, longtime children's book editor at the Bodley Head and among Ardizzone's closest friends and correspondents.

Hardcover. San Diego CA , IDW Publishing, 1st, 2016, Book: Very Good, Dust Jacket: None, Hardcover. Extensive color illustrations by Cliff Sterrett throughout. Clean, unmarked copy. Sterrett whimsically played with every element of his feature, and was blissfully free of self-conciousness or restraint. Like all truly great comedians, he often recruits the reader, and lets them in on the gag as it plays out, while the actual characters are clueless. It's a deceptively complicated comedic gift. Other times its pure slapstick, with the unvarnished roughness and outrageous takes that characterized the period, but it's still out laugh loud funny, and honestly, when's the last time you really laughed at a comic strip? Sterrett stretched the limits of comics with the freedom that accompanied an art form yet to deigned respectable, and he produced one of the most personally stamped features in comic strip history.

Hardcover. New York, Da Capo Press, Reprint, 1970, Book: Near Fine, Dust Jacket: None,

Hardcover. New York, MTV, 1st, 1993, Book: Very Good, Dust Jacket: None, Hardcover, unpaginated. White cloth covers, 11 1/2 by 13 1/2 inches, with black stamped lettering on front. A promotional piece produced by MTV for advertisers promoting their Free Your Mind campaign. 28 artists contributed poster designs: Paul Davis, Gary Panter, Calef Brown, George Lois, others. Clean copy. No dust jacket issued.

Softcover. Washington, D.C., Library of Congress, 1st, 2011, Book: Very Good, Dust Jacket: None, 51 pages. Hardcover. Extensive b&w photographs throughout by Carl Mydans throughout. Clean, unmarked copy with only minor wear to wrappers.

Hardcover. NY, Harcourt Brace And Company , reprint, nd, Book: Very Good, Dust Jacket: Good, Hardcover in a lightly worn and chipped dust jacket. 424 pages, 10 tipped-in color plates & 48 double-sided b/w plates. index. This book is an attempt to tell the story of modern French painting as developed by the Impressionists and subsequent adventurers in the last hundred years in Paris. No date, most likely early 1950s. Clean copy.

Softcover. Washington DC, Smithsonian Institution Press, 1st, 1979, Book: Very Good, Dust Jacket: None, Softcover, 110 pages, illustrated throughout in color and b&w. Light wear to wrappers, mild damp stain to rear cover. Previous owner's writing, underlining to several pages.

Softcover. St Louis MI, Daniel Zimmer , 1st, 2016, Book: Very Good, Dust Jacket: None, 80 pages. Softcover. Extensive color illustrations by various artists throughout. Feature on John Gannam. Clean, unmarked copy with only minor wear to wrappers.

Softcover. Hollywood CA, Frederick`s of Hollywood,, 1981, Book: Good, Softcover, 72 pages in color, Most illustration is photographic, some is by artists and illustrators. Lingerie, dresses, exotic wear for her (and him!), bras, panties, stockings, shoes, and the like. Moderate wear.

Hardcover. Kitchen Sink Press, 1st, 1990, Book: Very Good, Dust Jacket: None, Hardcover, 182 pages. Glazed boards.

Softcover. New York, Dell, 1st, 1970, Book: Very Good, Dust Jacket: None, Mass market paperback, Dell #5868, unpaginated. B&w cartoon drawings throughout by the Berenstains. Clean.

Hardcover. New York, Harry N. Abrams, 1st, 1984, Book: Very Good, Dust Jacket: Very Good, Hardcover, 256 pages. 330 illustrations, including 150 plates in full color. Black cloth, gilt lettering to spine. Beautiful pictorial dust jacket. A very clean, tight and crisp copy. Like New.

Hardcover. NY, Doubleday, 1st, 1951, Book: Very Good, Dust Jacket: Very Good, Hardcover, 48 pages, b&w cartoons by Otto Soglow. Humorous illustrations of Latin phrases.

Hardcover. Boston, Massachusetts, Harry N. Abrams, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, 470 pages. Brown cloth cover, color illustrated dust jacket, 113 color and 206 illustrations. Still in original shrink wrap; book in excellent condition. American artists have been inspired by Italy since the 1760s, when Benjamin West, the first American painter to travel there, was drawn to the ancient Roman ruins and magnificent Renaissance architecture, statuary, and frescoes. This intriguing, superbly illustrated book is the first to explore the fascination Italy held for the American artist from West's time to the eve of World War I.The unique sense of the past found in Italy, where tangible evidence exists of a continual civilization from antiquity to the present, lured countless American artists to its cities, towns, and countryside. Painters from West and Copley in the eighteenth century to Cole, Inness, Whistler, Sargent, and Prendergast in the nineteenth century were inspired to create many of their finest works in Italy, as were American sculptors such as Hiram Powers and Harriet Hosmer and writers from Washington Irving to Henry James.This in-depth study includes 319 illustrations, of which 113 are reproduced in full color, many of works that have not previously been published. Theodore E. Stebbins, Jr., John Moors Cabot Curator of American Paintings at the Museum of Fine Arts, Boston, and Professor of Art History at Boston University, provides a broad overview of the American perception of Italy and the unique role that Italy played in the formation of American art.

Hardcover. New York, Abrams Image, 1st, 2010, Book: Very Good, Dust Jacket: None, 159 pages. Hardcover with no dust jacket. Light foxing to top edge of textblock. Rubbing to rear. An otherwise very clean, unmarked copy with only minor edgewear. Revealing an unprecedented, intimate look at Ryan Adams and his band the Cardinals through the evocative photography of lead guitarist, Neal Casal. An intensely personal collection of 200 photographs, Casal has captured the exhilaration of the stage and studio while sometimes exposing the solitary aspects of the creative process and life on the road. With an introduction by Ryan Adams and an afterword by legendary musician Phil Lesh, this collection will be revered by fans and is the official documentation of the beloved band.

1977, Color art of different sailbats in window panes. Illustration by Andre Francois. 8 1/4 X 11 1/2", very good. PLEASE NOTE: The image shown is a scan of the actual product you are purchasing. What you see is what you get. The sheet may have some imperfections beyond the cropped area shown. You are buying THIS PAGE ONLY- not the entire magazine. Your order will be placed carefully between stiff paper and an acetate overlay, then packed in a rigid cardboard sleeve to prevent bending.

Hardcover. New York, Cambridge University Press, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover, 298 pages. B&W and color illustrations throughout. Nice clean copy with tight binding and dust jacket in good condition. Preface by David M Sokol. This is the definitive study of one of America's major artists and inventors, Samuel F.B. Morse (1791-1872). It covers his prodigious achievements in painting and technology, his passionate cultural ambitions, and his key role in the historic development of American art. The book imaginatively combines intellectual biography with interpretation of more than one hundred pictures. Three chapters consider Morse's most extraordinary artistic achievements: The House of Representatives, The Gallery of the Louvre, and The National Academy of Design. In a final chapter on the electromagnetic telegraph, an invention that imprinted his name on our language, there is a special discussion of the conceptual relationship between artistic and mechanical inventions.

NY, Harper & Brothers, 1911, Book: Very Good, Dust Jacket: None, Painting of a group of fishermen on deck watching a plane passing overhead. Approx. 10 X 13". Color art byPLEASE NOTE The image shown is a scan of the actual product you are purchasing. What you see is what you get. The sheet may have some imperfections beyond the cropped area shown. You are buying THIS PAGE ONLY- not the entire magazine. Your order will be placed carefully between stiff paper and an acetate overlay, then packed in a rigid cardboard sleeve to prevent bending.

Softcover. NY, Da Capo Press , reprint, 1982, Book: Very Good, Dust Jacket: None, Softcover, 315 pages, b&w illustrations. This same volume was originally published by Heinemann in 1968, and reissued by Da Capo in 1982. Clean copy.

Softcover. West Chester, PA, Chester County Historical Society, 1st, 1982, Book: Very Good, Dust Jacket: None, Softcover, 80 pages. 3 plates and 16 B&W illustrations. Red pictorial cover with tear to spine and wear to edges. Frontispiece. Overall, a clean, tight copy.

Hardcover. London, The Offices of Punch, 1916, Book: Very Good, Dust Jacket: None, Two matching hardcover volumes, pebbled green cloth over leather spine and corners. The set collects all of Punch Magazine for 1916. Hundreds of b&w cartoons lampooning British culture and politics leading up to World War II. Clean, bright set. Over 800 pages total.

Hardcover. Preinceton NJ, Princeton University Press, 2nd pr., 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. "What is abstract art good for? What's the use-for us as individuals, or for any society-of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the past five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. 297 pages; approx. 250 color and bw figures. Remains a nice, sharp and bright copy.

Softcover. Scranton, PA, Whitney Museum of American Art, 1st, 1960, Book: Very Good, Dust Jacket: None, Exhibition catalog. Approx. 115 pages. 91 B&W and color prints. Red pictorial cover with slight wear around edges and spine. Black marks on front endpaper and flyleaf, binding glue also visible. Previous owner marking (Evergood) on spine. Overall, a clean, nice copy.

Hardcover. University of Washington Press, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 285 pages. Over the Line: The Art and Life of Jacob Lawrence includes essays by eight distinguished art historians examining the ways in which Jacob Lawrence's art speaks so powerfully to different audiences. It is the first multi-author, in-depth probe of the artist's entire career: the nature of his work, his education, the critical climate in which he worked, and his use of materials and techniques. It reproduces, in full color, more than 200 works, most of which have not been published in color, or at all, in other books on the artist.

Hardcover. Boston, Museum of Fine Arts, 1st, 1941, Book: Very Good, Dust Jacket: None, Hardcover, 366 pages. SIGNED BY AUTHOR ON FRONT ENDPAPER. Blue cloth cover with small gilt illustration embossed to front, gilt lettering embossed to front and spine, 270 b&w plates, appendix of supplemental b&w plates of art pieces described in collection. Previous owner's signature to front endpaper, 2 small squares of tape residue to opposite endpaper, light foxing evident of front and rear endpapers, light wear to cover. This extensive catalog is one of the finest for the study of colonial and early American furniture, painting, and the decorative of arts of the period of 1720-1820.This beautifully printed volume, set in Monotype Bembo and with full-tone collotype illustrations, established a high visual standard for furniture catalogs.

Softcover. Seattle, Fantagraphics, 1st, 2007, Book: Very Good, Dust Jacket: None, Softcover, 120 pages. A quarterly anthology of literary comics. Contributors include Tim Hensley, Ray Fenwick, Paul Hornschemeier, Sophie Crumb, Jim Woodring, Kurt Wolfgang, others.

Softcover. London, Strange Attractor Press, 1st, 2012, Book: Very Good, Dust Jacket: None, Softcover, oblong format, pictorial wrappers. B&w art. Collected together for the first time, these Trip or Squeek strips offer acerbic, lysergic and razor sharp observations on music, art and life. Featuring extensive notes, a discography and never-before-seen preparatory sketches by Savage Pencil, and an illustrated foreword by artist Gary Panter.Savage Pencil's Trip or Squeek strips have been appearing in music magazine The Wire since 2002.

Hardcover. New York, Rizzoli, 1st, 1990, Book: Very Good, Dust Jacket: Very Good, Two volume set. Hardcovers with dust jackets. Both in beautifully illustrated slipcase. Minor fraying to slipcase edges. Hardcovers both clean and unmarked. Color illustrations throughout.

Hardcover. NY, Dutton, reprint, 1965, Book: Very Good, Dust Jacket: Very Good, Hardcover. Lampoons the exploits of the artistes of the orchestra. Illustrated with full-page black-and-white caricatures by Gluyas Williams. Dust jacket price-clipped, light fading to spine.

Hardcover. NY, Prestel, 1st, 2018, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards. While sheets of paper are disappearing from our homes and offices, the medium is experiencing a renaissance in the worlds of art, design, and architecture. Suddenly, paper is everywhere--but not only in the old familiar places or forms. This fascinating book looks at every aspect of paper: its history, composition, production, application, and trade. Beginning with the anatomy of paper and its earliest forms, this book looks at paper as a symbol of political and economic importance and as a carrier of ideas, from literature to art, design, and music. It looks at the different surfaces, opacities, weights and volumes of paper and how it is used for printing, typography, graphics, and maps as well as a vehicle for origami, architecture, and fashion. Sumptuously illustrated with photographs and drawings, this book includes a variety of papers for readers to examine and feel, highlighting the sensual aspects of this seemingly ordinary product. Engaging, entertaining, and informative, this book contains a wealth of useful and surprising information on every printed, colored, and textured page

Hardcover. Phaidon, 1st thus, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover, 304 pages. Working in graphic, architectural, and product design, Pentagram is one of the most respected firms in the world. A collection of the work and thought of the Pentagram partners, this lavishly illustrated and--not surprisingly--beautifully designed book helps to explain the unique qualities of organization and creativity that have allowed the firm to prosper since its beginnings more than 20 years ago. The candid and insightful discussion of the business and artistic processes of design is useful for students as well as seasoned professionals. While the tone is occasionally a bit self-satisfied, the final feeling conveyed is that of a ceaselessly open and growing entity, astonished at its success, justifiably proud of its work, and aware of its status as an anomaly. Recommended for all collections with a focus on design.

Softcover. US, 21 Pub, 1sat, 2001, Book: Very Good, Dust Jacket: None, Softcover, 112 pages, illustrated throughout in color. Clean, unmarked copy with only minor wear to wrappers. During his lifetime, Francis Bacon maintained that he painted directly onto canvas without the benefit of preparatory studies. Since his death in 1992, however, several groups of works on paper have come to light, offering amazing new insights into Bacon's working methods and personal obsessions. "Bacon's Eye" showcases a unique collectiion of works on paper that were bundled up and given by the artist to his friend Barry Joule just prior to his death. This collection includes a remarkable album of 70 oil sketches that relate to his work from the '50s and '60s, as well as over 900 "working documents": images torn from books, magazines and newspapers that have been painted and sketched over, revealing an artist's-eye-view of some of the most important people and events of the 20th century. As of yet, these works have not been officially recognized as being by Bacon. Permission to to show these works alongside finished paintings was denied by the Bacon Estate. The gallery, 21 Publishing, and a host of Bacon experts firmly believe in the authenticity of these works. This book, along with an exhibition at the Barbican Gallery in London, are a means of allowing the public to judge for itself. Edited by Georgia Mazower. Foreword by John Hoole. Introduction by Mark Sladen. Essay by Mark Sladen.

Hardcover. New York, Alfred A Knopf , 1st, 1971, Book: Near Fine, Dust Jacket: Very Good, Hardcover, 336 pages, illustrated throughout in color and b&w. Pictorial gray cloth with gilt title to spine. Pictorial dust jacket. Light wear and sun to covers and spine, else a very nice, tight copy.

Hardcover. NY, Guggenheim Museum, 1st, 2003, Book: Very Good, Dust Jacket: None, Hardcover, 228 pages. During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli & Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, others.

Hardcover. NY, Harry N. Abrams, 2nd pr., 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 320 pages, 9.9x1.2x12.3 inches. Color illustrations throughout. Michael Benson, one of the world's leading authorities on the visual legacy of space exploration and astronomy, tells a riveting story of the discovery of the universe through pictures. Selecting strikingly powerful and intriguing illustrations and maps, many hidden away in the world's great science libraries and virtually unknown today, he chronicles more than three thousand years of humanity's ever-expanding understanding of the size, shape and visual texture of the cosmos from the planets of our Solar System to the Milky Way and to the large-scale structure of the greater universe, with its teeming swarms of galaxies. These illustrations - some are maps, some are diagrams, some are speculative works of representation- are among history's most powerfully compelling works of data visualization, an art that is increasingly necessary in today's data-intensive world. NOTE: DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. US, Sansom Foundation, Inc., 1st, 2011, Book: Very Good, Dust Jacket: Very Good, 240 pages. Like new in publisher's shrink-wrap. The painter William Glackens (1870-1938) and his friends were among the liveliest and most influential American artists of the opening decades of the twentieth century. Their continued importance in the history of American art is explored in this informative collection of essays. Colin Bailey chronicles the beginnings of Albert C. Barnes' unparalleled collection of modern art, as well as Glackens' role in forming it, and Avis Berman investigates the friendship of John Sloan, Robert Henri and John Butler Yeats. Carol Troyen examines George Bellows' war paintings and Richard J. Wattenmaker probes the relationship between Glackens' paintings and sketchbooks. H. Barbara Weinberg documents how the leading American Impressionists and members of The Eight dealt with the pressures of economic survival. This profusely illustrated publication is an essential reference for curators, collectors and historians.

Hardcover. London, MQ Publications, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 383 pages. "Aline Kominsky Crumb was one of the pioneers of women's comics, a genre that emerged in California in the sixties & seventies. She became well known during that period for her autobiographical work, influencing many comic book artists after her. Need More Love draws on her remarkable body of comic strips over the past four decades, many featuring her self-effacing character Bunch. Need More Love is a unique blend of comics, art, photographs & memorabilia, & portrays the movers & shakers (and the jerks) of the art & music worlds from the sixties to the present. Aline promises the reader: "I am packing this book with sordid details from my real life. I don't have to make up anything! You'll get fabulous adventures, sex, humor and advice on behavior, lifestyle & aesthetic judgment."