Art

Hardcover. New York, Abbeville Press, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, 247 pages. Hardcover with dust jacket. A very clean, unmarked copy with only minor wear to dust jacket edges. 163 color illustrations throughout.

Softcover. Mexico, 1st, 2003, Book: Very Good, Dust Jacket: None, Articles in English and Spanish. 108 pages plus advertisements. Color illustrations throughout. Black pictorial cover with wear to edges and covers. Overall, a clean, tight copy.

Hardcover. Detroit, MI, Wayne State University Press, 1st, 1964, Book: Good, Dust Jacket: Good, Hardcover, 196 pages. B&w illustrations throughout. Black cloth, silver lettering to front cover and spine. A nice copy, in a worn dust jacket with protective mylar cover. Small piece missing from lower right corner of dust jacket, minor tears. Slight staining to edges.

Hardcover. NY, Metropolitan Museum of Art, 1st, 1997, Book: Very Good, 406 pages. Hardcover published to accompany the exhibition bearing the same title and held at the Metropolitan Museum of Art from October 28, 1997 to January 11, 1998. Canvas cloth boards with grey embossed titles to spine. Full page, full color & bw illustrations throughout. Dust jacket with only light marginal wear. Tight binding, sharp corners, clean & unmarked pages throughout.

Hardcover. Seattle, Fantagraphics, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover, 144 pages. This is an essential purchase for fans of Felix the Cat. As all true fans know, Felix's real glory days were in the silent era, when Pat Sullivan's animation studio produced over a 100 ingenious short cartoons featurng the protean ebony feline. Though Sullivan hogged all the credit, the artist behind the series was Otto Messmer, who also worked on Felix's spin-off newspaper comic strip. He continued with that strip after the cartoons ended in 1930 (due to Sullivan's incompetent management).Editor David Gerstein has compiled a sampling of strips from the early 1920s to the 1930s. It's fascinating to see how Felix changed over a decade, moving from a blocky, snout-nosed design to a sleek look with rubber hose limbs and circular head and torso. Comic-strip Felix is of naturally talkier than his film self, and Messmer's sight gags flow less smoothly when broken up by panels and dialogue, but these strips remain a delight, especially since a couple stories are adaptations of now-lost cartoons (and even re-use art from them). As for the original stories, they take advantage of the format to tell longer tales, often in the sort of gently humorous adventure genre later used by Floyd Gottfredson's Mickey Mouse and Carl Bark's Donald Duck comics. Sadly, Felix's comic strip adventures remain far more obscure than those Disney productions.

Softcover. Seattle, Fantagraphics, 1st, 2005, Book: Very Good, Dust Jacket: None, Softcover, 112 pages. Written and Illustrated by Andrice Arp, Gabrielle Bell, Jonathan Bennett, Jeffrey Brown, Sophie Crumb, David Heatley, Paul Hornschemeier, Anders Nilsen, John Pham and Kurt Wolfgang. Designed by Jordan Crane. A quarterly anthology of literary comics.

Hardcover. New York, William Morrow & Company, Inc., 1st, 1980, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, pages. History and analysis of the American artistic phenomenon of Superrealism. Contains 72 color plates and 68 black/white plates as well as notes on particular artists. Very good condition; no internal marks, slight wear on the edges of the dust jacket.

Hardcover. NY, Nostalgia Press/King Features, 1st, 1974, Book: Very Good, Dust Jacket: Very Good, Hardcover, 128 pages. Reproduces the Prince Valiant cimic strips beginning with "The Prophesy" of 1937, "The Ogra" (1937-38), "The Fairy Morgana" (1938), "Prince Arn" (1938), "In The Service Of King Arthur" (1938-39), "Knight Errant" (1939), "The Grand Victory' (1939-40).

Hardcover. Nelson-Atkins Museum, 1st, 2011, Hardcover, 252 pages. Clarence King's Survey, undertaken between 1867 and 1872, covered a vast swath of terrain, from the border of California eastward to the edge of the Great Plains. It was the first survey to include a full-time photographer--Timothy O'Sullivan--who produced about 450 finished photographs in large-format and smaller-format stereographs. O'Sullivan's images convey a distinct individual quality of perception, at once direct and laconic, as well as a perfect union of objective fact and personal interpretation. As such, O'Sullivan remains the most admired, studied, and debated photographer who worked on the great western surveys of the 19th century. The volume also includes an essential catalogue raisonne of O'Sullivan's King Survey work.

Hardcover. NY, Doubleday, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. Master of Shadows weaves a gripping drama of 17th-century cloak-and-dagger diplomacy with an insightful, authoritative exploration of Peter Paul Rubens' art and the private passions that influenced it.

Softcover. New York, Crown Publishers, 1st, 1975, Book: Very Good, Dust Jacket: None, Unpaginated. Color illustrated softcover, 120 full color plates. Very light wear to cover; overall a very clean, tight copy.

Hardcover. US, Hatje Cantz, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 348 pages, 169 illustrations. Like new in publisher's shrink-wrap. The depictions and roles of women in the paintings of Pablo Picasso (1881-1973), Max Beckmann (1884-1950) and Willem de Kooning (1904-1997) typically give rise to conversations and presumptions about machismo and misogyny. Of course, these artists' portrayals of women cannot be dismissed so easily, and in fact all offer highly nuanced explorations of the theme. This publication explores their depictions of women as more than painterly projections of male longing and desire, treating them as reflections of social and political conflicts and upheavals. Contributions from art historians, sociologists and artists approach the figures of women in these bodies of work from a variety of perspectives: for Picasso, as a catalyst for a confrontation with the artist's own life and history; for Beckmann, as completely independent themes; and for de Kooning, as the force that makes artistic expression itself possible.

Hardcover. San Francisco, Chronicle Books, 1st, 2019, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards. 144 pages, color throughout. Delicious Metropolis brings together two of Wayne Thiebaud's most celebrated bodies of work: desserts and cityscapes. Between the two, fascinating juxtapositions develop. The layers of a Neapolitan cake echo the shadows cast across a street in the late afternoon. The pastel hues of iced sponge cakes match California's candy-colored houses. Curators, critics, and artists guide the reader through the book via insightful bite-size essays. This gorgeous hardcover offers fans and newcomers a refreshing and accessible way to enjoy the oeuvre of this iconic American painter.

Softcover. Philadelphia, University of Pennsylvania Museum, 1st, 1998, Book: Very Good, Dust Jacket: None, Softcover in pictorial wraps, 195 pages. Exhibition Catalog, illustrated throughout in color and b&w. This stunning catalogue includes color photographs of more than 230 objects, excavated in the 1930s by renowned British archaeologist Sir Leonard Woolley, from the third-millennium-B.C. Sumerian city of Ur. Learn the fascinating story of the excavation and preservation of these magnificent artifacts.Many of the objects are published in color and fully described for the first time--jewelry of gold and semiprecious stones, engraved seal stones, spectacular gold and lapis lazuli statuettes and musical instruments; and vessels of gold, silver, and alabaster. Curator Richard Zettler sets the stage with a history of Ur in the third millennium and the details of the actual excavations. Art historians Donald Hansen and Holly Pittman discuss the historical importance and significance of the many motifs on the most spectacular finds from the tombs. Clean copy.

Softcover. Switzerland, Parkett Verlag, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Heavy paper covers in a bright color dust jacket. 209 pages, color and b&w illustrations, bilingual text - German and English. Sigmar Polke (born 1941) recently completed a series of 12 windows for the Grossmunster cathedral in Zurich, setting new standards for the mutual relationship between art and church. One group of seven Romanesque windows shows luminous mosaics of thinly sliced agate, some of it artificially colored, to produce pulsating blocks of back-lit color. Says Marina Warner, "The interior of rocks opens not only on unexpected colors... on once imprisoned now scintillating rays and gleams, but it also tunnels into the past, into the distant past of geological and cosmological millennia." For the remaining five windows, Polke designed images of figures from the Old Testament, based on medieval illuminations, which have themselves undergone transformation in the course of their long journey through time. Polke's figures now appear as radiantly contemporary icons created in colored glass, using a variety of traditional and customized techniques devised especially for this project. Minor wear to dj, lacks blue wrap-around band with title, clean copy.

Hardcover. London, Frederick Muller Limited, 1st, 1983, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. White cover with gilt lettering to spine, color illustrated dust jacket, 32 pages of 87 color plates of stain glass in England. Light wear to dust jacket; overall a clean, tight copy.

Hardcover. New York, Monacelli Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, 352 pages, numerous illustrations. Pictorial boards in clear plastic dust jacket. Beautiful copy. Like new, in shrinkwrap.

Hardcover. New Delhi, privately printed/Pasang Wangdu, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 282 pages., profusely illustrated throughout in color and black and white painting schematics. Parallel text in English and Tibetan. Private printing. Ribbon marker, clean copy. NOTE: DUE TO SIZE AND WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. New York, Atria, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, 112 pages. Hardcover with dust jacket. Clean, unmarked copy with only minor wear to dust jacket. Here is a cornucopia of 104 dead-on drawings and eye-opening ruminations on all things bookish, writerly, and readerly, courtesy of The New Yorker's renowned stable of cartoonists, including Charles Barsotti, Roz Chast, Ed Koren, J.B. Handelsman, Jack Ziegler, and Victoria Roberts.

Softcover. Kitchen Sink Press, 1st, 1992, Book: Very Good, Dust Jacket: None, Softcover, 176 pages. The most popular of Capp's hundreds of distinctive characters was the Shmoo. This lovable little creature loved mankind so much that it would sacrifice itself and turn into a ham steak, a gallon of milk or a dozen eggs: whatever its owner desired. Its whiskers made nice toothpicks and its eyes could be recycled as buttons. Most important, a Shmoo could reproduce faster than a rabbit. Thus, if you had one Shmoo, you were set. You didn't need to work at all. Thus did the apparent book for mankind become its curse and the powers that be decreed that all Shmoos must be exterminated. Capp's insightful morality tale was so popular that it spawned an unprecedented merchandising bonanza. Two introductions, by David Schreiner and by science fiction writer Harlan Ellison, are illustrated with various Shmoo toys manufactured. The large back cover photograph shows a selection of Shmoo merchandise in color from the Denis Kitchen collection. Also featured in this volume: Flying Sausages (parody of "Flying Saucers," a term first coined a few months earlier; Fearless Fosdick, Nightmare Alice, Salomey, Adam Lazonga, Moonbeam McSwine, Cousin Weak-Eyes and Marryin' Sam. See also our Shmoo Facts Sheet for some amazing statistics about this character's popularity.

1908, Book: Very Good, Two-color art of running girl in black bathing suit by James Montgomery Flagg. 10 X 13", small label. 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.

Softcover. New Britain, CT, New Britain Museum of American Art ; London : University Press of New England, 1st, 2009, Book: Very Good, Dust Jacket: None, 84 pages. Softcover. A very clean, unmarked copy with only minor edgewear. Color illustrations throughout. This catalogue explores the often uneasy relationship between the art of painting and the art of illustration, featuring American artists who practiced both styles of painting between 1850 and 1950. The catalogue charts the development of both types of art through the eyes of a select group of artists of who engaged in both fine art and illustration.

Softcover. Seattle, Fantagraphics, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 184 pages. Presenting a new type of graphic fiction from a legendary family in American cartooning. Underground cartoonist Kim Deitch has recruited his entire cast of siblings to produce a unique, all-new "picto-fiction" pocket book. Deitch's Pictorama leads off with Kim's comic "The Sunshine Girl." Then it's time for Seth's prose short story "Children of Aruf," about a man and his dog... in a world where dogs talk. Third up is "Unlikely Hours," a paranoid picto-story about a conspiracy of sentient rats written by Seth and illustrated by Kim. Next comes "The Golem," once again written by Seth and decorated with a series of superb pencil illustrations by Simon, a prose novella about the mythical Jewish monster/protector. Kim wraps with "The Cop on the Beat, the Man in the Moon and Me," one last comic - this one autobiographical. The book features an introduction by the Academy Award-winning animator, cartoonist and illustrator Gene (Tom and Jerry) Deitch, who happens to be the proud father of the author.

1917, Book: Very Good, Color art of woman in black hat seated before window by Neysa McMein. 11 1/2 X 14 3/4", mild crease, still 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. Seattle, WA, Fantagraphics Books, 1st, 2015, Book: Very Good, Dust Jacket: None, 258 pages. Hardcover with no dust jacket. A very clean, unmarked copy with only minor wear to edges. A tight copy. Cartoons for Victory showcases wartime work by cartoonists such as Charles Addams, Harold Gray, Harvey Kurtzman, Will Eisner, and many others. Most of the cartoons and comics in this book have not been seen since their first publication.

Softcover. New York, Whitney/Knopf, 1st, 1978, Book: Very Good, Dust Jacket: None, Softcover, 256 pages, b&w and color illustrations. Light edge wear. Else a clean, tight copy. Illuminates Steinberg's creative genius as a writer of pictures by critically viewing his ability to transcend borders between art and language in his drawings, cartoons, New Yorker covers, watercolors, and three-dimensional constructions.

1918, Book: Very Good, Dust Jacket: None, Woman in high-backed chair, sewing patch work, art by Neysa McMein. 10 1/2 X 13 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.

Softcover. San Francisco, Rip Off Press, 1st, 1987, Book: Very Good, Dust Jacket: None, Softcover, 28 pages, $2 cover price. B&w art by Gilbert Shelton. Clean copy.

1937, Color cartoon of a man vexed over his income tax forms. Art by Constantine Alajalov. 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.

1911, Book: Very Good, Dust Jacket: None, Theatrical Number, "Not in the Cast", art by James Montgomery Flagg. 8 1/2 X 11", 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.

1925, Two-color art of boys shooting marbles while an older gentleman looks on. Painting by J. C. Leyendecker. 10 X 13", small chip at top corner not affecting image. 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, Oxford University Press, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, 240 pages. Hardcover with dust jacket. Very clean, unmarked copy with only minor edgewear. Color photographs spanning over 30 years. Tight copy.

Hardcover. New Haven CT, Yale University Press, 1st, 1994, Book: Very Good, Dust Jacket: None, Hardcover, black cloth covers with gilt lettering on spine. No dust jacket. Profusely illustrated throughout in black & white and color. 433 pages. This book examines the technical and aesthetic experimentation that went into printmaking, workshop practices, and the material and social contexts of print production, and it gives the fullest account ever written of the ways in which Renaissance prints were produced, distributed, and acquired. David Landau and Peter W. Parshall pose a range of practical questions about the production of prints. They investigate, for example, what materials were used, how they were acquired, and how a Renaissance printmaker's workshop operated. They explore the evidence that individual prints were beginning to be esteemed as works of art rather than as inexpensive substitutes for them, and the relationship between prints made to be collected and those of a more ephemeral nature intended for a wider audience. They discuss how prints were valued during the period, including the relative value of woodcuts to engravings, and engravings to etchings. And they investigate how prints evolved in relation to the pictorial arts of the Renaissance generally. Clean, bright copy. NOTE: DUE TO SIZE AND WEIGHT, DOMESTIC SHIPPING ONLY.

Softcover. Santa Fe NM, Museum of New Mexico Press, 2nd pr, 1988, Book: Very Good, Dust Jacket: None, Softcover in pictorial wraps. Foreword by George Kubler. Profusely illustrated in color and black and white. 127 pages. 81 artists interpret this masterpiece of 19th century Spanish Franciscan architecture. Map of Taos laid in. Clean copy.

Hardcover. Chicago, McClure, Phillips and Co., 1st, 1905, Book: Very Good, Dust Jacket: None, Hardcover, gray illustrated boards with brown cloth spine. A collection of b&w cartoons from two Chicago papers. Unpaginated, about 150 cartoons printed on one side only. Clean, tight copy with some light wear to covers at corners.

Hardcover. NY, Harry N. Abrams, 1st, 1990, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 129 photographs in full color. Using a range of natural materials, Andy Goldsworthy "creates outdoor sculpture that manifests, however fleetingly a sympathetic contact with the natural world. Before they disappear, or as they disappear, Goldsworthy records his works in the superb color photographs that are the subject of this book" (dj flap).

Hardcover. NY, Harry N. Abrams, 1st US, 1999, Book: Very Good, Dust Jacket: Very Good, 420 pages with 338 illustrations, including 278 plates in full color. Large heavy folio. Light shelf-wear to dust jacket, else a clean, tight copy.

Hardcover. Germany, Steidl, 1st, 2014, Book: Very Good, Dust Jacket: None, When Sam Taylor-Johnson (born 1967) climbed the famous mirrored staircase of Chanel's headquarters at 31 rue Cambon, Paris, she did not quite know what to expect. Her destination was Coco Chanel's private apartment on the second floor; her mission, to photograph it.

Hardcover. New York, Harry N. Abrams, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, 271 pages. Hardcover. Extensive color photographs throughout. Illustrated end papers and paste downs. Gilt titles on spine. Minor shelf wear to dust jacket, otherwise clean, tight copy. A collection of 250 glamorous images chronicle the simultaneous evolution of fashion photography and fine jewelry, featuring extraordinary photographs that range from Richard Avedon's portrait of Elizabeth Taylor bedecked in cultured pearls to Scavullo's photograph of Paloma Picasso wearing her own jewelry designs.

Softcover. New Haven CT, Yale University Press, 1st, Book: Very Good, Dust Jacket: None, Softcover, stiff card wrappers firm and clean; Binding tight; Pages bright, internally clean, no ownership markings or annotations, illustrated with color and b&w plates, 9.1 X 6.1 X 0.8 inches; 287 pages. Best known for his barbed and brilliant art for The New Yorker, Saul Steinberg (1914-1999) did much more. He executed public murals, designed fabrics and stage sets, was an inventive collagist and printmaker, and turned his magic touch to the fields of painting, sculpture, advertising, and even wartime propaganda. This is the first comprehensive look at Steinberg's extraordinary contribution to 20th-century art, which was that of a modern-day illuminator, putting word and image in play to create art that spoke to the eyes, and minds, of readers. Previously unseen sketches, documents, and printed matter from the artist's papers illustrate the essay, career chronology, and entries for 120 objects featured in this important book.

Hardcover. NY, Pegasus Books, 1st, 2020, Hardcover in a bright dust jacket, 242 pages. A finely wrought coming-of-age memoir about the author's relationship with her beloved grandfather Joe Simon, cartoonist and co-creator of Captain America. In the 1990s, Megan Margulies's Upper West Side neighborhood was marked by addicts shooting up in subway stations, frequent burglaries, and the "Wild Man of 96th Street," who set fires under cars and heaved rocks through stained glass church windows. The world inside her parents' tiny one-bedroom apartment was hardly a respite, with a family of five-including some loud personalities-eventually occupying the 550-square-foot space. Salvation arrived in the form of her spirited grandfather, Daddy Joe, whose midtown studio became a second home to Megan. There, he listened to her woes, fed her Hungry Man frozen dinners, and simply let her be. His living room may have been dominated by the drawing table, notes, and doodles that marked him as Joe Simon the cartoonist. But for Megan, he was always Daddy Joe: an escape from her increasingly hectic home, a nonjudgmental voice whose sense of humor was as dry as his farfel, and a steady presence in a world that felt off balance. Evoking New York City both in the 1980s and '90s and during the Golden Age of comics in the 1930s and '40s, My Captain America flashes back from Megan's story to chart the life and career of Rochester-native Joe Simon, from his early days retouching publicity photos and doing spot art for magazines, to his partnership with Jack Kirby at Timely Comics (the forerunner of Marvel Comics), which resulted in the creation of beloved characters like Captain America, the Boy Commandos, and Fighting American. My Captain America offers a tender and sharply observed account of Megan's life with Daddy Joe-and an intimate portrait of the creative genius who gave us one of the most enduring superheroes of all time.

Softcover. Boston, Museum of Fine Arts, 1st, 1987, Book: Very Good, Dust Jacket: None, Softcover, 64 pages. 3 color, 28 bw plates. Issued in conjunction with a 1987 exhibition featuring examples of silver pieces crafted by Tiffany and Company. With an essay by Charles H. Carpenter Jr. INSCRIBED BY CARPENTER on the title page. The exhibition catalogue cites more than 70 pieces, and nearly half are pictured here. Clean copy.

Hardcover. New York , Knopf, 1st, 1925, Book: Good, Dust Jacket: None, Hardcover, decorated boards, yellow cloth spine with green lettering. Preface by Carl Van Vechten, color frontispiece, b&w caricatures throughout by the artist: Stravinsky, Picasso, Willa Cather, Jack Dempsey, Mary Pickford, Ed Wynn, Babe Ruth ,Will Rogers, Eugene O'Neill, Paul Whiteman, Lillian Gish, Fanny Brice, many more famous personalities of the day. Some light foxing to some pages. Good plus. Clean.

Hardcover. New York, Thames & Hudson, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, 240 pages. Hardcover with dust jacket. Very clean, unmarked copy still in publishers shrink-wrap. This intellectual tour de force draws on interviews with such key artists as Jean-Jacques Lebel, Mimi Parent, and Jean Benoit, and uses primary sources to advance our knowledge of the work of the better-known Surrealists, from Hans Bellmer to Meret Oppenheim. The Second World War, the Algerian War, and May 1968 are related in new ways to surrealism as a major countercultural force throughout this critical period in French history. By documenting the ways in which the Surrealists used sound, lighting, special effects, and performance art to create a living, theatrical environment, Dr. Mahon sheds new light on topics central to understanding art in our time.

Hardcover. New York, Harry N. Abrams, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover, 600 pages, illustrated throughout with 504 illustrations, including 242 plates in full color. Large heavy book. Clean, unmarked copy with only minor wear to dust jacket. DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. Bloomington IN, Indiana University Press, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 263 pages,16 BW illus., 16 color plates. Takes us into the mind of American abstract painter Ethel Schwabacher (1903-1984). "Comparable to such important literary journals as those of Virginia Woolf and Anais Nin, Schwabacher's record will become a valuable resource for research into the creative process as well as the art history and theory of our time." Clean copy.

Hardcover. London, Sir Isaac Pitman & Sons, reprint, 1929, Book: Very Good, Dust Jacket: None, Hardcover, green boards with beige buckram spine, black lettering on spine and front cover. 425 pages with index. The Artistic Crafts Series of Technical Handbooks. Diagrams by the author and numerous illustrations, colored lithographs and collotype reproductions from ancient examples. Gutter cracked at half-title page, previous owner's name otherwise clean.

Hardcover. New York, Praeger, 1st, 1967, Book: Very Good, Dust Jacket: Good, 117 pages of text followed by black & white plates. Minor age darkening along top edge. Dust jacket worn along edges - now protected with clear plastic cover. Clean, tight copy.

Softcover. Ithaca NY, Cornell University Press, 1st, 2005, Book: Near Fine, Dust Jacket: None, Softcover, 304 pages. Like new in publishers shrink-wrap. This ambitious collection treating the Italian Fascists appropriation of the past for political purposes focuses on the role of the visual in the aim of fusing the past and the modern world in Mussolini"s Italy. With contributions by art historians.

Hardcover. New York, Tudor Publishing Co., reprint, 1960, Book: Very Good, Dust Jacket: Good, Hardcover, 308 pages, b&w illustrations throughout. Yellow cloth with red title on spine. Pictorial tan dust jacket with light wear to edges and spine and some sunfading to back cover. Overall a tight, clean copy.