Used, Rare & Out-of-Print Art Books - pg. 32 including Carl Moon: Photographer & Illustrator of the American Southwest (Argonaut Book Shop Catalogue 83)by: Moon, Carl

Softcover. San Francisco, Argonaut Book Shop, 1982, Book: Very Good, Dust Jacket: None, Stapled wrappers, 48 pages. A Selection of Vintage Photographs Original Art and Related Material. As a photographer, Carl Moon photographed a total of twenty-nine tribes and villages. He studied the Indian from all sides and at close range. He lived in his camps and villages, became his friend and recorded a way of life that is no more. This catalog details 103 items of his work.

Hardcover. Seattle, Fantagraphics, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 344 pages. The second volume in a series reprinting in its entirety the syndicated run of Walt Kelly's classic newspaper strip. It features all the strips from 1951 and 1952, which have been collected before, but in now long-out-of print books, and even there they were not as meticulously restored and reproduced as in this new series. Bona Fide Balderdash also reprints, literally for the first time ever in full color, the two full years of Sunday pages, also carefully restored and color-corrected, shot from the finest copies available. This second volume is once again edited and designed by the cartoonist's daughter, Carolyn Kelly, who is also handling much of the restoration work.

Hardcover. Prestel, 1st, 1998, Book: Very Good, Hardcover, 167 pages. Louise Bourgeois: The Secret of the Cells is both a catalog of works by and a biography of the famous Parisian artist. Born in 1911, the now-octogenarian Bourgeois has shown widely throughout the world and to great critical acclaim, especially within the last decade. Bourgeois's personal history is vastly important in the content of her work, and this book takes readers on a journey from her affluent childhood in France, including family photographs, to her schooling under painter Fernand Leger to her eventual marriage and move to the United States, where she continued her long and varied career working primarily as a sculptor and installation artist. Bourgeois's abstract figurative sculptures range in materials from plaster, marble, and bronze to the more nontraditional latex, glass, thread, etc. Regardless of the medium, the work is imbued with a strong physicality that echoes the forms of the human body. Included in the book are discussions of Bourgeois's work in relation to other artists and movements such as Rodin, Brancusi, and primitivism. Bourgeois has been an inspiration to an entire generation of artists, not just because of her long and illustrious career but because her work has pushed so many boundaries. Louise Bourgeois: The Secret of the Cells is an informative and beautiful book with 77 color and 176 black-and-white images.

Hardcover. NY, Abrams, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 128 pages. Francoise Mouly takes us behind the scenes at the New Yorker and reveals how the magazine creates its signature covers commenting on the most urgent political and cultural events of the day. She shows the shocking and hilarious sketches that didn't make the cut and explains how these are essential stages in the evolution of a cover that stands the test of time but retains its edge. Her book captures contemporary history--from the farce of Monica Lewinsky to the adventures of Michelle and Barack to nuclear meltdown in Japan--in images that are as acute as they are outrageous. More than that, it shows how the magazine that exemplifies journalistic excellence in America also dares to cultivate a sense of humor when grappling with complex moral and political issues.

Hardcover. Kansas City, Andrews McMeel Publishing, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 320 pages. Everyone who grew up entertained, provoked, and enlightened by Dr. Seuss books will love this big, color-saturated volume covering 70 years of published and private art by the master of smart, loopy fun. Here are examples of Theodor Geisel's clever, now ironic advertising work, including a rambunctious campaign for Flit, an insecticide containing DDT. Geisel's political cartoons and magazine illustrations are animated by his phenomenal gift for line and color, mischievous humor, and humanitarian values. It is thrilling, too, to see the original drawings for Green Eggs and Ham and other Seuss classics. But the big discoveries in this bountiful and redefining volume are his "Midnight Paintings," surreal watercolors, oils, and acrylics featuring tiny figures in a vast, labyrinthine world, and private versions of his expressive characters, especially the Cat, his alternate identity. Geisel's vibrant, trippy, hilarious, and poignant art plays on Hieronymus Bosch, M. C. Escher, and Persian miniatures. Every creature, plant, architectural marvel, object, and landscape is wriggling, leaping, flying, arcing, tilting, and rolling. When he dives into abstraction, he plunges into a deep chromatic sea, while his taxidermic sculptures prove just how real his sweet and goofy invented critters were to him. Spectacular reproductions and excellent, if episodic, commentary map Geisel's exuberant, world-altering artistic journey on what he would call "long wiggled roads" into "weirdish wild space."

Hardcover. Lanham MD, Derrydale Press, 1st, 2010, Book: Very Good, Dust Jacket: None, 149 pages. Hardcover. Extensive b&w and color illustrations throughout. Clean, unmarked copy with only minor wear to wrappers. The definitive book on an artist who is widely regarded as the preeminent American illustrator of equestrian subjects. Based on extensive interviews with Brown's family, friends, and artistic contemporaries, Paul Brown includes a biography of the man and contains a complete listing of all the published works that include Brown's art as well as listings of all of Brown's prints, items sometimes attributed to Brown, and methods of identifying first editions of Paul Brown's art. Although Brown is primarily known for his wonderful paintings, drawings and sketches of horses and equestrian sports, he is also well known for his elegant and prolific illustrations for Brooks Brothers catalogs over three decades.

Hardcover. New York, Watson-Guptill Publications, 1st, 1973, Book: Very Good, Dust Jacket: Very Good, Hardcover. This is a volume with detailed chapters pertaining to Maxfield Parrish's work, including book and magazine illustration, posters and advertisements, as well as paintings and murals often depicting fantastical or mythological creatures. 224 pages, with over 100 b&w illustrations and 64 full color plates. Includes catalog of selected works, chronology, bibliography, and index. Bound in blue cloth, tight and clean. Clean dust jacket with full color reproduction of painting.

Hardcover. Seattle, Fantagraphics, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover, 120 pages. The third in Gilbert Hernandez's line of original hardcovers featuring Love and Rockets' "Fritz" in her guise as a Z-movie actress (the first two were Chance in Hell and The Troublemakers) is a trippy thriller that stars Fritz in no fewer than three roles. A beautiful waitress (Fritz, of course) and her hospital nurse brother (also Fritz) visit their estranged father, a once successful but now retired writer (amazingly enough, also Fritz), in order to find out the true reason why their mother committed suicide. When dad's health fails, the siblings are then more concerned with the money he might leave them. The story weaves in and out of reality and hallucination and possibly back in forth in time, and to complicate things further, the sister is sexually obsessed with a mysterious man throughout the tale - or is it her brother (at one point posing as his sister so that he might gain his and her inheritance) that is so hot and bothered by this mystery stud? And that's only the tip of the iceberg. There's also a venture into ghost territory, with frauds bilking the gullible and Fritz's character(s) right in the middle. 120 pages of black-and-white comics

Hardcover. NY, Norton, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 384 pages. The definitive biography of the greatest cartoonist of the Greatest Generation. "The real war," said Walt Whitman, "will never get in the books." During World War II, the truest glimpse most Americans got of the "real war" came through the flashing black lines of twenty-two-year-old infantry sergeant Bill Mauldin. Week after week, Mauldin defied army censors, German artillery, and Patton's pledge to "throw his ass in jail" to deliver his wildly popular cartoon, "Up Front," to the pages of Stars and Stripes. "Up Front" featured the wise-cracking Willie and Joe, whose stooped shoulders, mud-soaked uniforms, and pidgin of army slang and slum dialect bore eloquent witness to the world of combat and the men who lived-and died-in it. This taut, lushly illustrated biography-the first of two-time Pulitzer Prize winner Bill Mauldin-is illustrated with more than ninety classic Mauldin cartoons and rare photographs. It traces the improbable career and tumultuous private life of a charismatic genius who rose to fame on his motto: "If it's big, hit it."

Hardcover. NY, Knopf, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 352 pages. In this chatty, self-absorbed memoir told with a hefty dose of name-dropping and a devout reverence for fame and fortune, British interior decorator Haslam proudly reveals his intimate connections with many members of British and American high society from the 1950s to the present, from his distant relation to Princess Diana to his brief but adoring encounters with Tallulah Bankhead, Mick Jagger, the Beatles, Joan Crawford, and many more. Indeed his busy social life started young; for most of the first hundred pages he is a fairly wide-eyed ingenue at Eton, followed by stints in London, New York, California, and back to London as a magazine editor, interior designer, and columnist. His has been a life where everyone and everything is darling and divine; in his world, elevator doors open to reveal Salvador Dali, and Andy Warhol is a frequent and amusing dinner companion. While claiming to be telling all, Haslam hides most of what makes many memoirs truly personal and affecting; in exchange readers get a chance to feel as if they are on a first-name basis with the stars. His superficial obsession with high society is, still, highly entertaining and refreshingly honest, and will delight those who travel in international circles of design and fashion.

Softcover. Montclair NJ, Montclair Art Museum, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 98 pages, 41 color plates. Issued in connection with an exhibition held October 19, 2008 to February 1, 2009, Montclair Art Museum.

Softcover. Montclair NJ, Montclair Art Museum, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 98 pages, 41 color plates. Issued in connection with an exhibition held October 19, 2008 to February 1, 2009, Montclair Art Museum.

Softcover. Montclair NJ, Montclair Art Museum, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 98 pages, 41 color plates. Issued in connection with an exhibition held October 19, 2008 to February 1, 2009, Montclair Art Museum.

Hardcover. New Haven CT, Yale University Press, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 344 pages. The abstract paintings of Jackson Pollock, Willem de Kooning, Barnett Newman, Lee Krasner, Clyfford Still, Helen Frankenthaler, and others revolutionized the art world in the 1940s and 1950s and continue to inspire passionate arguments to this day. What were these artists trying to achieve? Who were the critical voices of the time that rallied public interest in Abstract Expressionism and sparked rancorous debate? Drawing on recent critical, historical and biographical work, this lavishly illustrated book offers a sharp new focus on a pivotal art movement.

Softcover. New Haven CT, Yale University Press, 1st, 2009, Book: Very Good, Dust Jacket: None, Softcover, 283 pages. An examination of the pioneering Caribbean and Latin American artists who resided in New York prior to WWII and shaped the American avant-garde Between 1900 and 1942, New York City was the site of extraordinary creative exchange where artists could share ideas in a global context. The swiftly changing urban landscape before and between the World Wars inspired the erosion of artistic boundaries and fostered a new climate of modernist experimentation. Nexus New Yorkfocuses on key artists from the Caribbean and Latin America who entered into dynamic cultural and social dialogues with the American-based avant-garde and participated in the development of a new modern discourse. Featuring both celebrated and little-known figures of this period, including Carlos Enriquez, Alice Neel, Marius de Zayas, Francis Picabia, Joaquin Torres-Garcia,Jose Clemente Orozco, Matta, and Robert Motherwell, contributing authors also discuss the specific environments in which they flourished, including the Art Students League, the Siqueiros Experimental Workshop, and the New School for Social Research. A fascinating look at 20th-century modernism, this book provides the first view of the important encounters between artists of the Americas.

Hardcover. Kerber, 1st, 2008, Book: Very Good, Hardcover, 144 pages. Painter Francesco Clemente once said of Eric Fischl, "If life is what happens to you as you make other plans, then 'life' is Eric Fischl's subject matter." Though Fischl is best known for his figurative paintings, this monograph presents a 2007 series of 13 sculptures and corresponding large-format gouache works. Cast in polyester and resin, the life-sized, three-dimensional nudes enter into tense dialogue with the drawings, depicting the same element of human struggle that we find in Fischl's paintings. Naked bodies without context or reference, engaged in no specific narrative, offer any number of possible interpretations. They allow the viewer to indulge in careful observation, daring us to penetrate the surface patina of the sculptures to see if anything lies beneath. A special section includes a complete catalogue raisonee of the sculptural work from 1975 through 2007.

Hardcover. Hatje Cantz, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. Erwin Blumenfeld (1897-1969) was born into a Jewish family in Berlin. In 1941, after being interned in a concentration camp, he left Europe for the United States, where he eventually became a citizen; during the 40s and 50s, he was to make his name here as one of the most sought-after fashion photographers in the world. But most people are unfamiliar with Blumenfeld's early work, the often bitingly satiric Dada photomontages and collages he produced between 1916 and 1933. This book, put together by Helen Adkins, renowned expert on the Berlin Dada movement, is the first to provide a study and a survey of these early works. Blumenfeld did not intend for these works to be shown publicly, as they were primarily personal gifts to his friends and acquaintance, or were enclosed in love letters to his fiancee. Nonetheless, they were conceived in the Dada spirit (Blumenfeld established the Dutch branch of Dada in 1918) and belong to its story. Approximately 100 works--including many previously unpublished, which Adkins discovered in the artist's family archives and in other public and private collections--are examined within the context of Blumenfeld's life, photographs, drawings and literary works.

Hardcover. Berkeley CA, University of California Press, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 320 pages. In the voluminous scholarship that's been written on Paul Cezanne, little has been said about the twenty-four portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. In Cezanne's Other: The Portraits of Hortense, Susan Sidlauskas breaks new ground, focusing on these paintings as a group and looking particularly at the differences that render many of them unrecognizable as the same person. She argues that Cezanne sidestepped the conventional goals of portraiture-he avoids representing a consistent, identifiable physiognomy or conventional feminine postures and does not portray the subject's inner life-making lack of fixedness itself his subject, which leads him ultimately to a radical reformulation of modern portraiture. Sidlauskas also upends the notion of Mme Cezanne as the irrelevant and absent spouse. Instead she reveals Hortense Fiquet Cezanne as a presence so crucial to the artist that she became the essential "other" to his ever-evolving "self." Coupling historical texts from philosophy, psychology, and physiology with more recent writings from women's and gender studies, cognitive psychology, and visual culture, Sidlauskas demonstrates that Mme Cezanne offered intimacy at arm's length for the painter who has been dubbed "the lone wolf of Aix."

Hardcover. Seattle, Fantagraphics, 1st, 2010, Book: Very Good, Dust Jacket: None, Hardcover, 160 pages. Basil Wolverton's Culture Corner is a collection of gag cartoons by the legendary Mad Magazine artist in the form of an indispensable guide to demystifying life's most disconcerting social quandaries. With his fictional host, Croucher K. Conk, Q.O.C (Queer Old Coot), Wolverton would posit the problem and offer a uniquely Wolvertonian solution over seven or eight panels, each one a miniature masterpiece of scandalous visual humor. Wolverton's feature "Culture Corner" originally appeared monthly from 1945 to 1952. Each episode would tackle a different subject from the practical to the pixilated -"How to cross a busy street" to "How to tweak a beak." Revered by aficionados, it contains some of Wolverton's most outrageous drawing and his trademarked lexicon of wacky wordplay

Hardcover. NY, Knopf, 1st, 2009, Hardcover, 384 pages. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns.

Softcover. San Francisco, Chronicle Books, 1st, 1993, Book: Very Good, Dust Jacket: None, Softcover, 144 pages. An illustrated history of the fabulous pulp magazines from 1896 to 1953. After tracing the birth of the pulps back to the 1882 launching of Golden Argosy magazine, printed on pulpwood pages, Server organizes his unwieldy subject into categories of pulps: adventure, romance and sex, horror and fantasy, private eye, weird menace, science fiction. Each receives a lively capsule history that covers trends, reader (and sometimes, as in the case of the ``Spicys,'' government) response, and writers' bios--which, though sketchy (Hammett's Hollywood experience gets one sentence), resurrect a number of relatively obscure but seminal and fascinating figures, like Conan- creator Robert E. Howard, who shot himself dead at age 30 on the day his mother died, and Frederick Faust (a.k.a. Max Brand), who sometimes wrote around the clock, piling up two or three million words a year. Server attributes the pulps' demise to, among other factors, the advent of TV, paperbacks, and comic books, and he winds up with a note on pulp-collecting. For all of the author's savvy, though, it's above all the eye- popping illustrations (100 color, 57 b&w) that will have readers beaming. Magazine covers (some lurid, some of eerie beauty), sample pages of text and ads (``Raise Giant Frogs'')--the pulps come alive once again here, in all their eccentric glory.

Hardcover. NY, D.A.P./Distributed Art Publishers, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Hardcover in a slipcase, 192 pages. Transforming words into icons and images into wide-screen epics, Ed Ruscha has wholly reconceived the terms of painting for our era. Tagged variously as a Conceptualist, Pop artist or latter-day Surrealist, Ruscha flouts category, or rather incorporates all categories, always surprising and experimenting with both subject and method. His paintings are steeped in our times: cinema, advertising, logos, late capitalism and the twists and turns of postwar art have all informed his iconography since the early 1960s, arriving on the cool surfaces of his canvases with magnetic detachment. Ruscha eschews process and focuses exclusively on the final product: "the means to the end has always been secondary in my art," he has said. Ruscha has also reinvented the use of words in art, finding disquieting ways to invest language with a weird, throbbing, ambient static, never aspiring to what he calls "word gestures," since "each word is an excursion unto itself." Fifty Years of Painting focuses on Ruscha's majestic oeuvre of paintings. A magnificent publication, it comes housed in a slipcase that sports the artist's classic painting "Standard Station" (1966), and, alongside fantastic reproductions, it contains a preface by novelist James Ellroy, essays by Ralph Rugoff, Alexandra Schwartz and Ulrich Wilmes, a text by novelist Bruce Wagner, an interview with the artist by Kristine McKenna, an illustrated chronology and an exhibition history.

Hardcover. NY, Thames & Hudson, 1st, 2012, Book: Very Good, Dust Jacket: None, Hardcover, 152 pages. A fabulous facsimile of an almost unknown masterpiece by Joseph Cornell, presented in a box, along with a volume of essays and an interactive DVDOne of Joseph Cornell's favorite pastimes was to meander through the used bookstalls of lower Manhattan, sorting through old books, magazines, postcards, photos, and other ephemera in search of items to spark his creative impulses. Sometime in the early 1930s he came upon the Journal d'Agriculture Practique (Volume 21, 1911), a voluminous handbook of advice for farmers. Though he was very much an urban creature, he adored French culture of that period, and the book was filled with charming black and white engraving and photographs of pigs, horses, vegetables, and farm machinery. Over time Cornell altered and reinvented many of the pages in the Journal. He inserted collages, photomontages, and occasional drawings; he crossed out words in the text and made French puns with others. Hand-colored engravings, cutouts, and lift-ups intricately transport the reader from page to page. The dazzling elegance of Cornell's work on the Journal has rarely been viewed. It was discovered in his basement studio soon after his death in 1972 and is now in the collection of the Philadelphia Museum of Art. Due to its fragility, the work is not well known, even among Cornell scholars. Now, in a unique venture, sixty of the most extraordinary pages have been re-created in virtual facsimile, with cutouts, glue-ons, and other unique handmade details. Included in a specially designed box are a DVD of the entire work, including pop-up commentaries, and a volume of illustrated essays on the Journal and Cornell's artistic practice. 103 illustrations

Hardcover. NY, Pantheon, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 112 pages. This clever, satirical graphic novel reimagines the Flaubert classic Madame Bovary through contemporary mores and attitudes. Simmonds's unique approach includes the usual panels and balloons, but also voluminous amounts of text on each page. The result is a graphic novel that reads like an actual novel. Simmonds tells the story through the eyes of Raymond Joubert, a baker in Normandy. Gemma herself is a complex character--an unsatisfied young woman who marries Charlie Bovery, a lumpish carpenter, out of apparent boredom, and then persuades him to move from London to a farmhouse in Normandy, to escape his clinging ex-wife and two children. Here, the rather unlikable Gemma begins to come into focus, her loneliness and isolation leading to her affair. Joubert, who mixes genuine concern with denial about his voyeurism, is convinced Gemma's headed down the same tragic path as Flaubert's original. Since we learn in the first paragraph that Gemma is dead, the question is who will be responsible for her demise. Simmonds's art recalls the elegance of New Yorker cartoonists mingled with the goth charm of Edward Gorey (Gemma herself is all restlessly darting pinpoint pupils).

Hardcover. Mark Batty, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 160 pages. A fresh perspective on movie posters, comparing posters from different countries that promote the same film. The emphasis is on famous movies: Citizen Kane, The Third Man, Sunset Boulevard, The 400 Blows, La Dolce Vita, The Birds, Dr. Strangelove, My Fair Lady, Chinatown, Annie Hall, etc. In the case of each film, posters are presented in brilliant color, or black and white as the case may be, from various countries showing the varying ways that artists sought to promote the film.

Softcover. New Haven CT, Yale University Press, 1st, 2005, Book: Very Good, Dust Jacket: None, Softcover, 144 pages. Comics, graphic novels, and single panel cartoons have long flourished as an alternative medium. In recent years these forms of narrative illustration-artwork that tells its own story rather than supporting a text-have increasingly crossed over into mainstream popular culture. Pictorial storytelling now reaches the public through animated films (Spirited Away) and films with animated sequences (Kill Bill), while graphic novels win literary prizes and comic art hangs in art galleries. This delightful book explores the various uses of images with and without text in the work of over thirty artists from around the world.

Softcover. NY, Thames & Hudson, 1st, 2003, Book: Very Good, Dust Jacket: None, Softcover, 240 pages. This comprehensive biography presents the achievements of Brion Gysin, a multi-faceted artist whose work has influenced performers such as David Bowie and Mick Jagger. Recalling the heady atmosphere of the so-called Beat Hotel in Paris in the late 1950s and 1960s, it features first-hand reminiscences by contemporaries, plus a biographical essay and chronological listings. productive literary collaboration with William Burroughs. As well as looking at his work as a sound poet and performance artist, it features reproductions of his paintings and graphics, and examples of his permutated poems and other writings.

Softcover. NY, Thames & Hudson, 1st, 2003, Book: Very Good, Dust Jacket: None, Softcover, 240 pages. This comprehensive biography presents the achievements of Brion Gysin, a multi-faceted artist whose work has influenced performers such as David Bowie and Mick Jagger. Recalling the heady atmosphere of the so-called Beat Hotel in Paris in the late 1950s and 1960s, it features first-hand reminiscences by contemporaries, plus a biographical essay and chronological listings. productive literary collaboration with William Burroughs. As well as looking at his work as a sound poet and performance artist, it features reproductions of his paintings and graphics, and examples of his permutated poems and other writings.

Hardcover. Taschen, 2nd Ed., 2012, Book: Very Good, Dust Jacket: None, Two white folio volumes in a slipcase, 559 pages, b&w illustrations (chiefly color). Vol. 1: Interviews. Bob Ciano ; Fred Cohen ; Michael Cuscuna -- Record covers. A-K by artist -- v. 2: Interviews. Rudy Van Gelder ; Ashley Kahn ; Creed Taylor -- Record covers. L to Z by artist. Vinyl mania: Jazz LP covers from the 1940s to 1990s. This volume features a broad selection of jazz record covers, from the 1940s through the decline of LP production in the early 1990s. Each cover is accompanied by a fact sheet listing performer and album name, art director, photographer, illustrator, year, label, and more.

Hardcover. Running Press, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 272 pages. MAD Magazine was an indispensable part of 'growing up' for 1950s/60s kids. The humor was witty, leg-pulling and hilarious. The art work, to this day, was of the highest order. Top cartoonists such as Jack Davis, Don Martin, Bob Clarke etc. graced it's pages for many years. Top of the rank must be Mort Drucker, whose caricatures of film and TV stars are second-to-none. Some of his very best work, dating from 1957 to 2009, is included in this hefty volume. The reproductions are slightly larger than the magazine format and excellent for studying the line-work of this remarkable artist. Included is a fascinating discussion between Mort and former MAD editor Nick Meglin.

Hardcover. Seattle, Fantagraphics, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover, 112 pages. Hal Foster's masterpiece of adventure enters its second decade as Valiant and Aleta journey to "The New World" a 16-month epic that allows Foster to draw some of his spectacular native Canadian backgrounds, and during which Aleta gives birth to Arn and acquires her Indian nurse, Tillicum. Most of the rest of the book is taken up with the action-packed five-month sequence "The Mad King" during which Val, back at Camelot, confronts the evil, fat little King Tourien of Cornwall.This volume will be rounded off with an essay by Foster scholar Brian M. Kane (The Prince Valiant Companion) discussing Foster's depiction of "Indians" as it relates to other interpretations of the times, accompanied by various graphic goodies such as a previously unpublished camping cartoon by Foster from circa 1915, some of Foster's Mountie paintings, Foster's own map of Val's voyage to/from the New World, and more rare photos and art. As always, this volume is shot directly from Foster's personal collection of syndicate proofs, their glorious colors restored to create an unprecedentedly sumptuous reading experience.

Softcover. First Second, 1st, 2013, Book: Very Good, Dust Jacket: None, Two softcover volumes in a pictorial slipcase, pages. The Boxers & Saints Boxed Set from Gene Luen Yang, one of the greatest comics storytellers alive, brings all his formidable talents to bear in this astonishing work. In two volumes, Boxers & Saints tells two parallel stories. The first is of Little Bao, a Chinese peasant boy whose village is abused and plundered by Westerners claiming the role of missionaries. Little Bao, inspired by visions of the Chinese gods, joins a violent uprising against the Western interlopers. Against all odds, their grass-roots rebellion is successful.But in the second volume, Yang lays out the opposite side of the conflict. A girl whose village has no place for her is taken in by Christian missionaries and finds, for the first time, a home with them. As the Boxer Rebellion gains momentum, Vibiana must decide whether to abandon her Christian friends or to commit herself fully to Christianity.

Hardcover. Long Beach CA, Long Beach Museum of Art, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover with a nice dust jacket. Since 1970, Mizuno's work has evolved from functional dinnerware to abstract sculptural forms, from playful and humorous trompe l'oeil plates to richly layered sculpture informed by his evocative personal history, paralleling the development of the ceramics field itself in the late 20th century as it evolved from functional forms to a medium of full artistic expression. The exhibition is the first major museum exhibition to survey the work of this artist whose superbly crafted works, while firmly grounded in the traditions of the ceramic arts, extend to new forms in clay that defy traditional categories. This exhibition catalogue designed by Takaaki Matsumoto includes a forward, interview with the artist, a biography and exhibition history, and the exhibition checklist of 48 artworks. The exhibition and publication trace the work of this Japanese-born, Los Angeles-based ceramist from 1971 through 2003. Interview of the artist by Deborah McLeod, foreword by Museum Director Harold Nelson Format: hardcover Dimensions: 8-1/2 x 6-1/4 inches, 96 pages plus cover / 51 color plates. in conjunction with the exhibition of the same title at the Long Beach Museum of Art November 18, 2005 through January 15, 2006.

Hardcover. NY, Bloomsbury USA, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, Hardcover, 320 pages. More than thirty years have passed since Al Capp's death, and he may no longer be a household name. But at the height of his career, his groundbreaking comic strip, Li'l Abner, reached ninety million readers. The strip ran for forty-three years, spawned two movies and a Broadway musical, and originated such expressions as "hogwash" and "double-whammy." Capp himself was a familiar personality on TV and radio; as a satirist, he was frequently compared to Mark Twain. Though Li'l Abner brought millions joy, the man behind the strip was a complicated and often unpleasant person. A childhood accident cost him a leg-leading him to art as a means of distinguishing himself. His apprenticeship with Ham Fisher, creator of Joe Palooka, started a twenty-year feud that ended in Fisher's suicide. Capp enjoyed outsized publicity for a cartoonist, but his status abetted sexual misconduct and protected him from the severest repercussions. Late in life, his politics became extremely conservative; he counted Richard Nixon as a friend, and his gift for satire was redirected at targets like John Lennon, Joan Baez, and anti-war protesters on campuses across the country. With unprecedented access to Capp's archives and a wealth of new material, Michael Schumacher and Denis Kitchen have written a probing biography. Capp's story is one of incredible highs and lows, of popularity and villainy, of success and failure-told here with authority and heart.

Softcover. NY, MFA Publications, reprint, 2003, Book: Very Good, Dust Jacket: None, Softcover, 368 pages. Julien Levy opened his New York gallery in 1931, and the following year assembled the first Surrealist show ever held in that city. Over the next two decades he exhibited works by Dali, Ernst, Joseph Cornell, Calder, Eugene Berman, Tchelitchew, Giacometti, Arshile Gorky and many other luminaries of twentieth-century art, giving a number of them their first shows. But Levy was more than a gifted dealer: he also had a gift for friendship, and in this charming, anecdotal memoir he recounts his intimate dealings with some of the most innovative figures of his generation. He crossed the Atlantic with Duchamp and introduced Tanguy to New York. He conceived the idea for Dali's Birth of Venus pavilion at the World's Fair, shared a summer house with Ernst and fished with Andre Breton (yielding a memorable description of the Surrealist leader's run-in with a blowfish). And he was with Gorky in the final, tragic days before the painter's suicide. Memoir of an Art Gallery is the story of prescient vision and lifelong devotion. By turns humorous and moving, and back in print after many years, it is also one of the most enjoyable works ever written about the pivotal time when Manhattan became the art capital of the world. This edition features a new introduction by Ingrid Schaffner, senior curator at the Institute of Contemporary Art in Philadelphia.

Hardcover. New Haven CT, Yale University Press, 1st, 2013, Book: Very Good, Hardcover, 120 pages. A glimpse inside the mind and artistic process of a fascinating contemporary cartoonist. Born to working-class parents in a small town in Italy, and reared in Chicago, Ivan Brunetti (b. 1967) was drawn to cartoons and comic strips from an early age. Finding inspiration in Spider-Man and Peanuts, he began crafting his own stories and gradually developed a unique style that he applied to imaginative, sometimes shocking subjects. The dark humor of his graphic novels earned him a cult following, yet his illustrations have had broad appeal. Now recognized as an award-winning cartoonist and illustrator, Brunetti has published his work in the New Yorker, the New York Times Magazine, and McSweeney's, among others.

Hardcover. Seattle, Fantagraphics, reprint, 2011, Book: Very Good, Dust Jacket: None, Hardcover, 143 pages. This lovingly produced collection of Gahan Wilson's 1970s "Nuts" strips from "National Lampoon" is a treasure and deservedly back in print after much too long. It is said that anyone who remembers the joys of being a kid really doesn't remember being a kid at all. Wilson remembers well. The page-long strips are wonderful bittersweet tales of discovery, of disillusionment, of sentimental memory, of revelation and new experience.

Hardcover. Seattle, Fantagraphics, reprint, 2011, Book: Very Good, Dust Jacket: None, Hardcover, 143 pages. This lovingly produced collection of Gahan Wilson's 1970s "Nuts" strips from "National Lampoon" is a treasure and deservedly back in print after much too long. It is said that anyone who remembers the joys of being a kid really doesn't remember being a kid at all. Wilson remembers well. The page-long strips are wonderful bittersweet tales of discovery, of disillusionment, of sentimental memory, of revelation and new experience.

Softcover. Tokyo, DH Publishing, 2007, Book: Very Good, Dust Jacket: None, Softcover, 96 pages. A retrospective of the almost extinct phenomenon of billboard painting in Japan, this is a fascinating look at the golden age of cinema as seen through the eyes of Japanese artists and media. Contains cover-to-cover, full-color photos, film trivia and historical background. More than just a mine of retro-kitsch, this is a unique look at Western cinema from across the ocean, for both casual readers who wish to flick through and explore the vivid images, and those interested in the historical significance of the depiction of the West and Western films in Japan.

Hardcover. Seattle, Fantagraphics, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover, 112 pages. Hal Foster's masterpiece of adventure enters its second decade as Valiant and Aleta journey to "The New World" a 16-month epic that allows Foster to draw some of his spectacular native Canadian backgrounds, and during which Aleta gives birth to Arn and acquires her Indian nurse, Tillicum. Most of the rest of the book is taken up with the action-packed five-month sequence "The Mad King" during which Val, back at Camelot, confronts the evil, fat little King Tourien of Cornwall.This volume will be rounded off with an essay by Foster scholar Brian M. Kane (The Prince Valiant Companion) discussing Foster's depiction of "Indians" as it relates to other interpretations of the times, accompanied by various graphic goodies such as a previously unpublished camping cartoon by Foster from circa 1915, some of Foster's Mountie paintings, Foster's own map of Val's voyage to/from the New World, and more rare photos and art. As always, this volume is shot directly from Foster's personal collection of syndicate proofs, their glorious colors restored to create an unprecedentedly sumptuous reading experience.

Hardcover. NY, Abrams, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Hardcover, 304 pages. Art In Time is a companion to Dan Nadel's previous book, Art Out of Time. In this engaging and smart volume, Nadel focuses on the lesser-known comic works by celebrated icons of the industry, like H.G. Peter (the artist behind Wonder Woman), John Stanley (the writer and artist for Little Lulu), Harry Lucey (one of the artists behind Archie), Jesse Marsh (the artist for Tarzan), and Bill Everett (best know for his characters Sub Mariner and Dr. Strange). Art In Time reprints a wonderful selection of complete comic book stories that represent some of the best, but obscure adventure stories from the 1940s through the 1980s. Each comic highlights the fully developed style unique to each artist and celebrate these little known comic gems. Art In Time is designed as a reading book, allowing fans to catch up on some of best, but forgotten, work in comics' history.

Hardcover. NY, Flammarion , 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 221 pages. Color and b&w illustrations.

Hardcover. NY, Abrams, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Hardcover, 320 pages. From its first issue in April, 1970, the National Lampoon blazed like a comet, defining comedy as we know it today. To create Drunk Stoned Brilliant Dead, former Lampoon illustrator Rick Meyerowitz selected the funniest material from the magazine and sought out the survivors of its first electrifying decade to gather their most revealing and outrageous stories. The result is a mind-boggling tour through the early days of an institution whose alumni left their fingerprints all over popular culture: Animal House, Caddyshack, Saturday Night Live, Ghostbusters, SCTV, Spinal Tap, In Living Color, Ren & Stimpy, The Simpsons--even Sesame Street counts a few Lampooners among its ranks. Long before there was The Onion and Comedy Central news shows, there was the National Lampoon, setting the bar in comedy impossibly high!

Hardcover. Seattle, Fantagraphics, 1st, Book: Very Good, Dust Jacket: None, Hardcover, 336 pages. Crockett Johnson is best known today for his children's books, notably 1955's Harold and the Purple Crayon, but his paramount creation was the celebrated if obscure newspaper strip Barnaby, which, from its distinct visual look (minimalist, Thurberesque drawings; typeset word balloons) to its wry, understated humor, was unlike anything else ever to hit the comics page. When five-year-old Barnaby Baxter wishes for a fairy godfather, what he gets instead is Mr. O'Malley, a pint-size, minimally magical sprite sporting an overcoat, tiny pink wings, and an ever-present cigar (his "fine Havana magic wand"). These initial 20 months of strips also introduce other characters: Barnaby's concerned parents (who, naturally, never see their child's supernatural companion), his young friend Jane, Gorgon the talking dog, and Gus the ghost. Praised by the intelligentsia (Dorothy Parker called Barnaby and his cast members "the most important additions to American arts and letters in Lord knows how many years") but never widely popular, the strip ran for a decade, from 1942 to 1952. This first volume collects all the strips from 1942 and 1943.

Hardcover. New Haven CT, Yale University Press, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 192 pages. Reaching its pinnacle during the era of Marilyn Monroe and James Bond, Haight-Ashbury and Swinging London, Pop art reflected the ideals and aspirations of a generation. By the 1960s the movement's bold imagery and style had become inseparable from the new consumer culture. This important book looks at British and American Pop art through the lens of portraiture, providing a fresh perspective on the movement and its innovative artists. Blurring the boundaries between "high" and "low" culture, Pop artists including Andy Warhol, Roy Lichtenstein, Richard Hamilton, and Peter Blake elevated portraiture to a new position. Author Paul Moorhouse explores the artists' engagement with portraits; their shared fascination with fame; their use of images from advertisements, rock music, films, and print sources; and the ways in which the British and American schools of Pop evolved and influenced one another. Bringing together key works from the peak years of Pop, this extensively illustrated book demonstrates how the conventions of portraiture were redefined as Pop artists transformed familiar images into transcendent works of art.

Hardcover. NY, Rizzoli, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. Nostalgia in Vogue celebrates the popular and poignant coming-of-age memoir columns that have been enchanting Vogue readers since 2000. This elegant volume collects a wonderful selection of Vogue's famous "Nostalgia" columns and the stunning photographs that accompanied them. Writers, designers, models, and celebrities share coming-of-age stories based on a rich range of themes from fashion to art, Hollywood, music, childhood, work, and love, each triggered by an extraordinary photograph from Vogue's history.With a host of intriguing characters and stories, and images by legendary photographers such as Irving Penn, Richard Avedon, Henry Clarke, Helmut Newton, Horst P. Horst, and Henri Cartier-Bresson, Nostalgia in Vogue is both a visual treat and a fascinating read. Whether told from the point of view of a budding movie star or a teenager straining to make sense of the sophisticated adult world, each entry offers a unique slice of life sharply evocative of time and place. Nostalgia in Vogue is a must for devotees of fashion, pop culture, photography, and literary memoir and reaches across a readership of all ages. Text by Eve Macsweeney with a Foreword by Anna Wintour and essays by Joan Didion, Margaret Atwood, Patti Smith, Edmund White, Karl Lagerfeld, Carly Simon, John Galliano, Ann Packer, Anjelica Huston, Nora Ephron, A. M. Homes, and others.

Softcover. Taschen, 1st, 2013, Book: Very Good, Dust Jacket: None, Softcover in a pictorial slipcase. Inez van Lamsweerde and Vinoodh Matadin's work has graced the walls and pages of some of the world's finest galleries and fashion magazines, and if it is surprising that their photographs easily float between these worlds, it is by virtue of their ease in creating imagery that seeks homes in both culturally elite and mainstream outlets. For some of their photographs, such as their portrait of Bjork or campaign for Givenchy, van Lamsweerde and Matadin have worked in collaboration with the art directors M/M (Paris), who have also designed this retrospective that looks back at pretty much everything? that the photographers have been working on for over two decades and that has brought them to the forefront in the fields of both art and fashion. 702 pages. 11 x 11 inches.

Softcover. NY, Penguin Books, 1st, 2012, Book: Very Good, Dust Jacket: None, Softcover, 512 pages. In The Sartorialist: Closer, Scott Schuman looks deeper and with great breadth at human style, and the way it is expressed across the world. Always reacting to an inspirational moment, the images in his new book continue to reflect Scott's unique sensibility and vision.

Hardcover. London, Conway, 1st, 2010, Book: Very Good, Dust Jacket: None, Hardcover, 96 pages. During World War II, the British government issued a series of public warnings in the form of witty posters by the brilliant cartoonist Fougasse, a.k.a. Cyril Kenneth Bird. ("Don't forget that walls have ears!" a fashionable woman whispers to a friend, as Hitler's face peers ominously out of the wallpaper.) This illustrated tribute to one of Britain's most popular artists begins with his celebrated WWII posters and continues with his later work for Punch magazine and elsewhere. An important contribution to the history of both cartooning and propaganda, it compares the relative effectiveness of hard-hitting American wartime designs versus Fougasse's light touch.

Softcover. Montreal, Drawn and Quarterly, 1st, Book: Very Good, Dust Jacket: None, Softcover, 112 pages. Doug Wright's pantomime strip about the life of a suburban family moves into the mid-1960s, and the pop culture of the time begins to seep in. Wright showcases the domestic mayhem that parents and their kids experience throughout the year. The endless play of kids is prevalent, from skateboarding to snowball fights, from the guilty pleasure of making prank phone calls to the daily roughhousing of siblings.