american history reference

Tulsa OK, Thomas Gilcrease Museum, 1st, 1986, Book: Very Good, Dust Jacket: None, Hardcover. light gray cloth with black lettering, 255 pages, b&w plates throughout. Thomas Moran (1837-1926) from Bolton, England was an American painter & printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. This catalog features 129 prints with extensive notes. Bibliography and index. Bright, clean copy.

Hardcover. Troy NY, William H. Young, 1st, 1891, Book: Very Good, Dust Jacket: None, 453 pages. Hardcover, dark green covers stamped in black. Previous owners name on preliminary page. Black & white illustrations. One fold-out city view. Title in gilt on spine. Cloth covers with areas of light surface rubbing. Clean, unmarked text.

Hardcover. Washington, Government Printing Office, 1st, 1892, Book: Good, Dust Jacket: None, 1000 pages. Black cloth cover, worn and soiled. Corners and edges of spine are bumped. Minor foxing on front endpaper. Front flyleaf has small tear, but no part of the page is missing. Pages untrimmed. Diverse topics include the history of sheep husbandry in the U. S. and a record of the sheep industry in Eastern and Western states. Inside is bright and clean, with 96 b&w plates depicting various sheep breeds and farms, also b&w statistic charts throughout. A nice copy.

Hardcover. Claremont, Tracy, Chase and Company, 1st, 1869, Book: Very Good, Dust Jacket: None, 288 pages. Hardcover. Green cloth with titles in gilt on cover and spine. Black & white illustrations. Light wear. Clean, tight copy.

Hardcover. Montpelier, State of Vermont, 1st, 1929, Book: Good, Dust Jacket: None, 163 pages. Hardcover. Ex-library copy with stamping and marking on endpapers. Illustrated with two black & white photographs. Features historical data, Vermont Roster 1898, etc. Green cloth covers with rubbing along edges. Clean, tight.

Hardcover. Boston, Briggs and Co., 1887, Book: Very Good, Dust Jacket: None, Hardcover, 352 pages, includes many ads with line illustrations. Black cloth spine with ad-illustrated cardboard covers, chipping to the paper covering the boards at edges. Otherwise clean, solid.

Hardcover. NY, Atlantic Monthly Press , 1st, 2020, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. In 1911, famed cartoonist Winsor McCay debuted one of the first animated cartoons, based on his sophisticated newspaper strip "Little Nemo in Slumberland," itself inspired by Freud's recent research on dreams. McCay is largely forgotten today, but he unleashed an art form, and the creative energy of artists from Otto Messmer and Max Fleischer to Walt Disney and Warner Bros.' Chuck Jones. Their origin stories, rivalries, and sheer genius, as Reid Mitenbuler skillfully relates, were as colorful and subversive as their creations-from Felix the Cat to Bugs Bunny to feature films such as Fantasia-which became an integral part and reflection of American culture over the next five decades. Pre-television, animated cartoons were aimed squarely at adults; comic preludes to movies, they were often "little hand grenades of social and political satire." Early Betty Boop cartoons included nudity; Popeye stories contained sly references to the injustices of unchecked capitalism. "During its first half-century," Mitenbuler writes, "animation was an important part of the culture wars about free speech, censorship, the appropriate boundaries of humor, and the influence of art and media on society." During WWII it also played a significant role in propaganda. The Golden Age of animation ended with the advent of television, when cartoons were sanitized to appeal to children and help advertisers sell sugary breakfast cereals.

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