american art indian

Softcover. Baltimore, MD, Baltimore Museum of Art, 1st, 1977, Book: Very Good, Dust Jacket: None, Softcover, 151 pages, b&w and color illustrations. Light edge wear, rubbing to wrappers. Else a clean, tight copy.

Hardcover. Boston, Faber and Faber, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, pages. "I write of peoples and of a struggle." So begins A New World, an ambitious and extraordinary book that challenges conventional historical narrative by presenting episodes in North America's history through the eyes and voices of the Europeans who established the first colonial outposts here. Beginning with the swaggering John Smith at Jamestown and ending with the beleaguered Montcalm at Quebec, Arthur Quinn allows towering historical figures to emerge from an often beautiful, sometimes forbidding early American landscape and speak. An elderly William Bradford looks back with growing despair at the early promise of the Pilgrim colony at Plymouth. Governor John Winthrop tries to administer a dose of practicality to the Puritans of Massachusetts. Jesuit missionaries bring Christianity and disaster to the Huron Confederacy. A blustering Peter Stuyvesant watches Manhattan slip from Dutch grasp. William Penn's Holy Experiment in Pennsylvania goes increasingly awry. And, finally, the British and the French fight history's first world war for supremacy in the New World. Telling each story using the literary conventions of the day, Quinn casts North America's colonial beginnings as a multicultural epic, gripping the reader throughout with his uncanny eye and storytelling skill. Clean copy.

Softcover. NY, New York Museum of the American Indian, 1st, 1926, Book: Very Good, Dust Jacket: None, Softcover, leaflet of the Museum of the American Indian, account of a rare blanket, thought to be woven of dog hair, of the Salish Indians along with discussion of technique. Very good condition, bound between stiff card wraps.

Softcover. Santa Fe NM, School of American Research Press, 1st pbk, 1992, Book: Very Good, Dust Jacket: None, Softcover, 241 pages. UW. Scholar and ceramic artist Dillingham offers a comprehensive cultural and technical history of pottery making at the New Mexico pueblos of Acoma and Laguna, lavishly illustrated (color and b&w photos), and supplemented with appendixes listing potters, detailing signs of commercial origin, and cataloging pottery housed in the Indian Arts Research Center at the School of American Research. Commentary extends to the contemporary market and challenges facing today's potters. Clean copy.

Softcover. Indianapolis, Indianapolis Museum of Art, 1st, 1973, Book: Very Good, Dust Jacket: None, Exhibition catalogue of Alfred Thompson Bricher. Softcover, 103 pages; plates in black & white; chronology. Cover: "A Pensive Moment" (color). In very good condition.

Hardcover. Bloomington, IN, Indiana University Press, 1st, 2014, Book: Very Good, Dust Jacket: None, 272 pages. Hardcover with no dust jacket. A very clean, unmarked copy with only minor edgewear. A tight copy. Christopher Felver has collected over 240 photographs from tours and encounters with musicians over the past 25 years. From Doc Watson to John Cage and Mavis Staples to Sonny Rollins, this collection celebrates the tapestry and diversity of musical styles that make up the American sonic landscape.

Hardcover. New York, Morrow, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, Hardcover, 160 pages. Illustrated in full color. Still in shrink wrap. Beautifully illustrated with 68 full color reproductions, several double page spreads and two foldouts. Impressive paintings of cowboys, Indians, buffalo, cavalry, mountain men, immigrant wagons, spectacular rock formations and vistas, etc. McCarthy was a successful book cover and movie poster illustrator before becoming one of our finest Western artists.

Hardcover. Seattle, WA, University of Washington Press, 1st, 1967, Book: Very Good, Dust Jacket: Very Good, Hardcover black cloth with silver lettering. 410 pages. 32 pages of color plates; near 1000 black-and-white photographs. Bibliography and index. Authoritative guide to the collections at the University of British Columbia. Clean copy in a bright dust jacket.

Hardcover. New York, Morrow, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover, 160 pages. Illustrated in full color. In a clean, bright dust jacket. A commercial artist who started out sketching in the 1930s for pulp magazines, Lovell advanced to the glossier "slicks" in the 1950s and has since specialized in Old West, Plains Indian, and Civil War themes. He here presents from that long career his best canvases, among them his famed depictions of Lee's surrender and the Fifty-fourth Massachusetts' assault (in film, the climax of Glory). His spark of inspiration is usually to visualize an incident he has read of in the journals of the first white explorers and trappers, such as those of Lewis and Clark. Whether it's Clark firing his rifle or Indians encountering a cannon lost by Fremont, Native Americans are generally presented as wary but curious about the newcomers; Lovell puts the warfare outside of the frame. Themes aside, he works expertly with natural color, and though not a modern George Caitlin, his attention to the detail of Indian dress, carriage, and equipage is quite affecting, fully reflective of his respect for the cultures of Apache, Sioux, etc. A rich tribute to a captivating artist who evokes the West's vast landscape and its individual braves and traders in moods of exuberance and perseverance.

Hardcover. New York, William Morrow & Co, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, 160 pages. Hardcover. Color illustrations. Clean, unmarked copy with only minor wear to dust jacket. "A commercial artist who started out sketching in the 1930s for pulp magazines, Lovell advanced to the glossier "slicks" in the 1950s and has since specialized in Old West, Plains Indian, and Civil War themes. He here presents from that long career his best canvases, among them his famed depictions of Lee's surrender". Gorgeous color plates.

Hardcover. Indianapolis, Bobbs-Merrill, 1st, 1908, Book: Very Good, Dust Jacket: None, Unpaginated, color decorations by Will Jenkins. This antique hardcover book is bound in olive-green cloth boards with a large color paste-down cover illustration of a woman by Will Grefe with gilt lettering. Features a variety of large color plates (about 12) from well-known illustrators of the day, many of which are suitable for framing, accompanied by verses of love. Bright, clean and tight.

Hardcover. New York, Harper & Brothers, reprint , 1923, Book: Very Good, Dust Jacket: None, Hardcover, 274 pages. Illustrated with full color and black & white plates by Frederic Remington. Brown paper covered boards with cover pastedown of Remington drawing. black cloth spine. Copyright page with 1923 date and Harper's G-B code indicating later printing of 1st edition. Light foxing to outer edges of some pages and plates. Fraying to cloth at top of spine. Light darkening of pages close to gutter. Still an attractive copy.

Hardcover. London, Barrie & Jenkins, 1st UK, 1970, Book: Very Good, Dust Jacket: Very Good, Hardcover in a lightly worn, price-clipped dust jacket. The first British edition featuring wrap-around color pictorial artwork by Frederick S. Remington (The Sign of the Buffalo Scout,1907). 487 pages. Notes, Bibliography, Index; illustrated in photos, reproductions, double-page frontis map. Clean copy.

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. New York, Harry N. Abrams, Inc., 1st Edition, 1989, Book: Very Good, Dust Jacket: Very Good, 155 pages. Hardcover. Color and b/w illustrations throughout. Cover boards bound in orange cloth, gilt title on spine, all excellent. Dust jacket unclipped, has small puncture near spine on front cover (patched from inside a with tape, see image), otherwise very good. Binding tight. Spine straight. In beautiful condition. Hassrick's illuminating discussion of Russell's work, based on much new research, is set against the backgrond of the artist's experiences in the West.

Hardcover. Seattle, Salisbury Press, 1st, 1970, Book: Very Good, Dust Jacket: None, 64 pages. Hardcover. Illustrated in full color and black & white. Book with original wrap around band on cover. A nice copy.

Hardcover. Berkeley, University of California Press, 1st, 1990, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 480 pages. Although he is referred to as a "genius" more often than any other scholar of his period, Edward Sapir has received no full-scale biography since his death in 1939. At long last, Regna Darnell provides a comprehensive assessment of the life, ideas, and wide-ranging interests of this remarkable man. Sapir, the foremost linguist and anthropologist of his generation, contributed substantially to the professionalization of linguistics as an independent discipline. He was the first to apply comparative Indo-European methods to the study of American Indian languages, on which he conducted extensive fieldwork. His theoretical work on the relationship of the individual personality to culture remains fundamental to culture theory in anthropology, as does his insistence on the symbolic nature of culture and the importance of culture as understood by its members, in their own words.Sapir became the first professional anthropologist in Canada and teacher of a whole generation of linguists and anthropologists at Chicago and Yale. Holding to a humanistic view of anthropology (his own work included poetry and literary criticism), he was the most articulate spokesman for the interdisciplinary social science of the late 1920s and 1930s. In both linguistics and anthropology Sapir is a revered master whose ideas continue to inspire discussion and research. A sixteen-volume Collected Works is now in progress. Clean copy.

Hardcover. Indianapolis, Indiana, Indianapolis Museum of Art, 1st, 2013, Book: Very Good, Dust Jacket: None, 160 pages. Hardcover no dust jacket. Color pictures throughout. Clean, unmarked copy with only minor wear to boards. Decoding Robert Indiana's work for a new generation, this revelatory book explores previously unknown autobiographical elements in the work of the Pop artist and printmaker. Famously proclaiming himself to be "an American painter of signs," Robert Indiana has created an enormous body of work, much of it boldly colored abstractions. In this incisive new examination of the artist, based on ongoing conversations with Indiana, art historian Martin Krause sifts through autobiographical clues within the artist's work and finds a wealth of affecting and affectionate references to Indiana's childhood, literary heroes, and the cultural icons of his generation. In addition, a penetrating essay by Pop art scholar John Wilmerding deconstructs Indiana's use of geometric shapes, making unexpected connections that enhance Krause's thesis. Accompanied by reproductions of more than 50 prints from the period 1960-2010--and focusing specifically on series such as Decade: Autoportraits, Vinalhaven Suite, and The Hartley Elegies as well as the "Love" and "Hope" images and studies of Marilyn Monroe, Picasso, and the Brooklyn Bridge--Krause's decryption of Indiana's visual language provides telling insight into the work of this quintessentially American artist.

Softcover. Washington DC, Smithsonian's National Museum of the American Indian, 1st, 2004, Book: Very Good, Dust Jacket: None, Softcover, 263 pages. Color plates throughout. Five essays by contributors. Clean copy.

Hardcover. NY, Watson-Guptill, 1st, 1976, Book: Very Good, Dust Jacket: Very Good, Hardcover. Frank Schoonover, one of the giants of the Golden Age of American Illustration, was renowned for his scenes of life on the western frontier of America and Canada. Schoonover captured the flavor of the west and northwest in his dramatic outdoor compositions which depicted cowboys, Indians, trappers, Eskimos - the people and way of life that he knew, loved, and painted first hand. His keen sense of observations, coupled with his vivid documentary style, made his illustrations powerful paintings in themselves. They are now exhibited and collected for their own sake, independent of the books they illustrated, as unforgettable documents of a legendary way of life. Like the other great painter/illustrators of the Brandywine School -he was a student of Howard Pyle and a contemporary of such notables as N. C. Wyeth and Harvey Dunn - Schoonover was passionate about the portrayal of the American past. Although he lived most of his life in the Brandywine River area of Pennsylvania and Delaware, his commitment to the frontier dominated his work. A natural love for adventure and a yearning to find his own style sent him initially to the Canadian northwest, where he took naturally to the challenge of frontier life. Living among the Indians, canoeing, traveling by dogsled, and fending for himself brought authentic flavor to his paintings which illustrated many popular books and stories of adventure - most of which are now forgotten, although the paintings endure. This handsome collection is the first full-scale illustrated study of Schoonover's work, not only rediscovering the paintings of a major artist, but providing an important visual document of frontier life. 208 pages. 10 1/2 X 11 1/4. 48 color plates. 150 black-and-white illustrations. Chronology. Index.

Hardcover. NY, Watson-Guptill, 1st, 1976, Book: Very Good, Dust Jacket: Very Good, Hardcover. Frank Schoonover, one of the giants of the Golden Age of American Illustration, was renowned for his scenes of life on the western frontier of America and Canada. Schoonover captured the flavor of the west and northwest in his dramatic outdoor compositions which depicted cowboys, Indians, trappers, Eskimos - the people and way of life that he knew, loved, and painted first hand. His keen sense of observations, coupled with his vivid documentary style, made his illustrations powerful paintings in themselves. They are now exhibited and collected for their own sake, independent of the books they illustrated, as unforgettable documents of a legendary way of life. Like the other great painter/illustrators of the Brandywine School -he was a student of Howard Pyle and a contemporary of such notables as N. C. Wyeth and Harvey Dunn - Schoonover was passionate about the portrayal of the American past. Although he lived most of his life in the Brandywine River area of Pennsylvania and Delaware, his commitment to the frontier dominated his work. A natural love for adventure and a yearning to find his own style sent him initially to the Canadian northwest, where he took naturally to the challenge of frontier life. Living among the Indians, canoeing, traveling by dogsled, and fending for himself brought authentic flavor to his paintings which illustrated many popular books and stories of adventure - most of which are now forgotten, although the paintings endure. This handsome collection is the first full-scale illustrated study of Schoonover's work, not only rediscovering the paintings of a major artist, but providing an important visual document of frontier life. 208 pages. 10 1/2 X 11 1/4. 48 color plates. 150 black-and-white illustrations. Chronology. Index. Due to size and weight, DOMESTIC SHIPPING ONLY.

Softcover. Flagstaff, Ariz., Nothland Press, 1st, June 1980, Book: Very Good, Dust Jacket: None, Softcover, 149 pages, b&w and color photographs. Light edge wear, rubbing to wrappers. Else a clean, tight copy.

Hardcover. Norton/Smithsonian, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. From the foremost collection of the artist's work, a remarkable portrait of Native American life. In 1832, George Catlin-showman, entrepreneur, and artist-made the first of four trips into Indian country, painting as he went, in a wonderfully spontaneous, if somewhat naive style. His ambition was to paint every tribe. He fell short. But what he did achieve, and the subject of this splendid volume, is a remarkable look into the faces and daily activities of Native Americans before their lands and their numbers were so radically diminished. And while Catlin was clearly influenced by the idea that Indians were Noble Savages (rapidly acquiring the vices of the white man while losing their "savage" virtues), his passion for his work is evidence of a profound respect and affection for his subjects, clearly demonstrated in this magnificent book. 275 illustrations, 150 in color.

Hardcover. Indianapolis, Bobbs-Merrill, 1st, 1952, Book: Good, Dust Jacket: None, Hardcover, green cloth with gilt lettering, 326 pages, b&w plates. The story of the sculptor who carved the faces of America's heroic dead on granite mountains, most prominently, Mount Rushmore. Previous owner's name on front fly leaf, otherwise clean. Mild shelf-wear.