american art native

Hardcover. Boston, The Peabody Museum / Little Brown and Company, 1st, 1968, Book: Very Good, Dust Jacket: Very Good, Hardcover, 279 pages. 168 full-page black-and-white illustrations and 16 color plates. Light sun-fade to dust jacket spine and flaps, as well as minor chipping along edges and wear along spine. Otherwise, clean, tight copy. This handsome book is the first full study of American marine painting ever published. In it are drawn together representative works by more than sixty painters from Colonial times to the present, including such diverse figures as John Smibert, John Quidor, John Marin, Albert Bierstadt, Geroge Bellows, Thomas Chambers, and Andrew Wyeth. Mr. Wilmerding discusses the development of these artists' concern with marine subjects, the influences (both native and European) on their styles and approaches, and the meaning of their achievement for American art in general.

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. New York , Ballantine Books, 1st thus, 2003, Book: Very Good, Dust Jacket: None, Softcover, 320 pages, b&w art by R. Crumb, Kevin Brown, Gregory Budgett and others. Clean, bright paperback. The classic collection of the comics that inspired the movie "American "Splendor, winner of the Grand Jury Prize at the 2003 Sundance Film Festival "American Splendor is the world's first literary comic book. Cleveland native Harvey Pekar is a true American original. A V.A. hospital file clerk and comic book writer, Harvey chronicles the ordinary and mundane in stories both funny and touching. His dead-on eye for the frustrations and minutiae of the workaday world mix in a delicate balance with his insight into personal relationships. Pekar has been compared to Dreiser, Dostoevsky, and Lenny Bruce. But he is truly more than all of them--he is himself. "Mr. Pekar has . . . proven that comics can address the ambiguities of daily living, that like the finest fiction, they can hold a mirror up to life."

Hardcover. Santa Fe, NM, Clear Light Publishers, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 139 pages illustrated in throughout with 96 color photographs; portrays the lives and works of eighteen ceramic artists including Maria Martinez, Grace Medicine Flower, Popovi Da, Nampeyo, Russell Sanchez, Nathan and Nancy Youngblood and many more. Clean copy.

Softcover. Seattle, University of Washington, 1st PB, 1989, Book: Very Good, Dust Jacket: None, Softcover, 188 pages, illustrations in b&w. Light edgewear to wrappers, else a clean, tight copy.

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

Hardcover. 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. Washington, Smithsonian Books, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, 292 pages. Hardcover with dust jacket. Color and black and whote photos throughout. Clean, tight copy. The Smithsonian holds more than 13 million images spanning over 150 years of taking and collecting photographs. This largely unknown body of photography (most never before published) represents nothing less than the Smithsonian's effort, in the name of all Americans, to describe and comprehend the world. Open anywhere in these pages to be plunged into the history of our modernity, and see what the Smithsonian deemed important to document and preserve. The famous, the infamous, and the never-before-seen are here in a remarkable "democracy of images": Amelia Earhart, Abraham Lincoln, P.T. Barnum and Tom Thumb, John Brown, Frederick Douglass, Lucille Ball, Greta Garbo, Babe Ruth; the earliest views of the moon and the earliest panoramic view of Damascus; rare Native American photography; views of Asia, Africa, and the American West; photographs of early flight, and much, much more. By recording the act of seeing, and of what was seen, both photography and the Smithsonian have shaped our sense of ourselves, as individuals, as a people, and as a country.

Hardcover. Daylight Books, 1st, 2015, Book: Very Good, Dust Jacket: None, Hardcover, 104 pages. Barmaid presents images by American photographer John Arsenault, who worked at the Eagle LA as a barback, or "barmaid," as Arsenault liked to refer to the position. The series consists of customer and employee portraits, interior landscapes from the bar, and self-portraits. These photographs reflect an insider view of the iconic bar.John Arsenault is a Los Angeles based photographer. His photography is internationally exhibited and is included in the Nerman Museum & Museum of Fine Arts, Houston.The Massachusetts native attended the School of Visual Arts, and since then has been lending his unscripted, unusual and totally authentic work to clients ranging from The New Yorker and Volkswagen to Goldman Sachs and Out Magazine

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.

Hardcover. Albuquerque, NM, University of New Mexico Press, 1st, 1984, Book: Very Good, Dust Jacket: Very Good, 195 pages, illustrated throughout in color and b&w. Blue cloth with gilt title to spine. Blue pictorial dust jacket. Light shelfwear to covers, else like new.Traces the life of the Navajo artist, including his experiences as a code talker for the Marines in World War II, and looks at his paintings and watercolors.

Hardcover. London, Merrell Publishers, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 224 pages, 200+ color illustrations. The first of a three-part series that explores the creativity and productivity of Native American artists. This volume "focuses on the work of nearly ninety of the most exciting and innovative artists of the region, working in a variety of media, from clay to glass, from fiber to jewelry, and from metal to wood, as well as mixed media." (flap).

Hardcover. NY, Funny Garbage Press, 1st, 2001, Hardcover, 212 pages. Legendary underground cartoonist Panter's comics are typically anarchic and fun, but they also delve deeper. First produced in 1983, Cola Madness is published here in book form for the first time. The work stars Jimbo, Panter's enduring punk everyman, sharing billing with a cast of idiosyncratic characters including Bob War; his calamitous brother, Uncle Garcia, a smart-talking dinosaur and beleaguered guardian in a bathrobe; and Kokomo, a native in an unspecified tropical land colonized by oil companies. Posited as the hallucinatory fever dream of Kokomo, Panter's farce follows Jimbo's misadventures as he tries to get a Moka Cola at the local Jack-in-the-McTacos, the whole zany affair culminating in an absurd, scatological climax at an automated fast food restaurant. Panter delivers a visionary response to contemporary American life viewed through the wrong end of some cosmic telescope. This delightfully inane story offers a selection of Panter's themes: humanity's troubled relationship with nature and technology; the tension between restraint and the uncontrollable urge; family relationships; and Jimbo's endearing, comical self-doubt. Panter's black and white "ratty line" drawing style offers great economy while suggesting a broad range of graphic style from art brut to bathroom graffiti, and calls to mind the works of legendary cartoonists Jack Kirby and Osamu Tezuka.

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. 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. New York, Watson-Guptill Publications, 1st, 1978, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. Quarto Format. 208 pages, 150 black-and-white and 48 colored illustrations. Notes; Bibliography; Index. Collection of paintings of the American West, primarily Native Americans. DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. NY, William Morrow and Co., 1st, 1939, Book: Good, Hardcover, oblong salmon cloth-covered boards, illustrated paper label on front cover, wear to corners. Prose and poetry on eleven aspects of Pueblo Indian life, each passage accompanied by a beautiful color illustration after watercolors by Native American artists, including Allan Houser, an Apache who was the great-grandson of Geronimo and Gerald Nailor, a Navajo; both of whom studied at the Santa Fe School. Mild soil, shelfwear. No markings.

Softcover. Seattle, University of Washington Press, 1st, 2000, Book: Very Good, Dust Jacket: None, Softcover. Like new in publishers shrink-wrap. Chief Joseph's exhausted words of surrender, 'Hear me, my chiefs, I am tired; my heart is sick and sad. From where the sun now stands, I will fight no more forever', are the accepted end of the Nez Perce War of 1877, in which several bands of Nez Perce attempting to find a new home outside their diminished Idaho reservation clashed with the U.S. military (and occasionally other Indians) along the Clearwater and Big Hole Rivers, and finally at the foot of the Bear Paw Mountains. However, a number of Nez Perce escaped transportation to Indian Territory with Joseph and continued their flight to Canada, with perhaps a hundred eventually joining Sitting Bull's Lakota."I Will Tell of My War Story" reproduces, describes, and discusses a remarkable series of drawings by an anonymous Indian artist who fought with Chief Joseph and later reached Canada. The drawings, in red, blue, and black pencil, include portraits of principal participants in the war, battle scenes, and views of Nez Perce camp life and celebrations during the war and after. The drawings are preserved in a small pocket ledger labeled 'Cash Book' on the front, which was acquired by Indian Agent Charles D. Warner in the 1880s. It was willed by him to a family living in northern Idaho, and is now in the collection of the Idaho State Historical Society. Scott Thompson worked closely both with the owners and with members of the Nez Perce community in preparing his manuscript. Thompson's detective work and research methods to identify Nez Perce and other parties pictured in the Cash Book make fascinating reading. He is careful to point out what is speculation and what has been documented or attested to by experts on dress, weapons, ceremony, and other aspects of Native culture. The Cash Book drawings are unique in several ways. They are one of very few firsthand pictorial records of the Nez Perce War, representing an even scarcer record of this war as seen from the Indian viewpoint. They contain invaluable historical and ethnographic information not only explicit in the form of military and Native dress, regalia, and quite graphic battle scenes, but also implicit. The drawings reveal an important stage of cultural adaptation as shown by the mixture of white and Native goods combined in Nez Perce material culture during the 1870s and 1880s, and by the artist's assimilation of white/European drawing techniques such as texture and perspective. The artist combined these drawing techniques with Native art traditions to make exceptionally effective pictorial communications. Scott M. Thompson is an art teacher at Chase Middle School in Spokane, Washington.

Hardcover. San Francisco CA, California Academy of Sciences, 1st, 1981, Book: Very Good, Dust Jacket: None, Hardcover, 96 pages, an exhibition catalog with 43 color plates. Essays by Donald Hagerty, Dan Dixon, Ansel Adams, others. INSCRIBED BY DAN DIXON (the artist's son) on front fly leaf. Embossed white cloth covers in a matching slipcase. 8 page exhibition brochure listing 118 works is laid in.

Hardcover. Chicago, A. C. McClurg and Co., reprint, 1934, Book: Very Good, Dust Jacket: None, 213 pages, 254 illustrations in color and b&w. First published in 1914, this is the 1934 reprint. Light yellow cloth with two-color design. Previous owner's signature, date on front fly leaf. Otherwise clean, very good.