art drawing

Hardcover. Paris, Editions Albert Morance, 1st, 1953, Book: Very Good, Dust Jacket: Fair, 320 pages. Hardcover. Text in French. Illustrated with black & white photographs and drawings of decorative cast iron. Previous owners name and date written on front interior hinge flap. Dust jacket worn with tape repair, chipping along edges - jacket now protected with clear plastic cover. Clean, tight copy.

Hardcover. Paris, Casterman, 1st, 1968, Book: Very Good, Dust Jacket: None, 64 pages. Hardcover with no dust jacket. Laminated cover boards. FRENCH TEXT. Clean, tight copy with color comics drawings throughout.

Hardcover. Chicago, Museum of Contemporary Art, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 240 pages. Artist Lee Bontecou (b. 1931) became widely known in the 1960s and 1970s for her welded steel sculptures and plastic and epoxy molded assemblages, powerful constructions that evoked natural phenomena and organic biological life as well as machines and instruments of war. This critically acclaimed book re-evaluates the career of this highly influential artist and focuses not only upon the impact of her early work but also on the import she has exerted on a generation of younger artists. Featuring some 50 sculptures and more than 100 drawings from the late 1950s to 2003, the book presents four essays that reposition Bontecou's work within the history of recent art, examine its shifting critical reception, discuss the artistic context in which her work was made, and analyze how science underpinned some of her earliest explorations. Related ephemera laid in. Clean copy. This is a heavy and oversized book and will require extra shipping. International customers please ask for a shipping quote before purchasing.

Hardcover. Berlin, Julius Springer, reprint, 1910, Book: Good, Dust Jacket: None, Hardcover, tan cloth stamped in dark brown, 337 pages. Illustrated with 500 text drawings and 6 2-color plates in rear. A detailed study of perspective. GERMAN TEXT. light stamping to endpaper, title page, otherwise clean.

Hardcover. Charlottesville, NC, University Press of Virginia, 1st, 1983, Book: Near Fine, Dust Jacket: Near Fine, 140 pages + 163 b&w prints. Monograph of a painter who carried the standard of realism through the 20th century while the artistic movement raced toward abstraction. Red cloth with gilt lettering to spine and white pictorial dust jacket. Like new, in shrinkwrap.

Hardcover. Monteal, Montreal Museum of Fine Art, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, 345 pages plus 8 pages in rear. Large, hardcover exhibition catalog profusely illustrated with DaVinci's drawings. Some color fade to the dust jacket spine otherwise very good.

Hardcover. NY, Dutton, 1st, 2003, Book: Very Good, Dust Jacket: None, Illustrated cardboard covers, illustrated throughout in color by Byrd, 48 pages. Famous in his time as a painter, prankster, and philosopher, Leonardo da Vinci was also a musician, sculptor, and engineer for dukes, popes, and kings. What remains of his work-from futuristic designs and scientific inquiry to artwork of ethereal beauty-reveals the ambitious, unpredictable brilliance of a visionary, and a timeless dreamer.Robert Byrd celebrates this passionate, playful genius in a glowing picture book replete with the richness and imagination of Leonardo's own notebooks. Twenty lavish spreads, including side drawings, supplemental texts, and quotes from Leonardo's writings, highlight distinct periods and make the master's art, jokes, explorations, and inventions wonderfully vivid and accessible. A striking tribute to an irrepressible mind and to the potential within all who are curious.

Softcover. Milan, Olivetti, 1983, Book: Very Good, Dust Jacket: None, Softcover, 155 pages. Numerous illustrations and color photos. This is a catalogue for an exhibition of the preparatory drawings made by Leonardo for The Last Supper. Professor Carlo Bertelli describes the history of the painting (and of the many copies made over the centuries, which form an important documentary record).

Hardcover. Chicago, University Of Chicago Press, 1st US, 2001, Book: Very Good, Dust Jacket: Very Good, 440 pages. Hardcover with dust jacket and slipcase. Full color and black & white illustrations. Beautiful copy with light sunning to dust jacket spine, Clean, tight copy. The technical problems with the Last Supper began as soon as Leonardo started to paint it. He jettisoned the traditional fresco technique of applying paint to wet plaster, a method unsuited to Leonardo's slow and thorough execution, and created the work instead with an experimental technique that involved painting directly on the dry plaster. With this renegade method, Leonardo rendered one of the most enduring painting techniques volatile and unstable. Added to this initial complication have been centuries of pollution, tourists, candle smoke, and the ravages of age, not to mention food fights in the refectory staged by Napoleonic soldiers and Allied bombs in 1943. By the middle of the twentieth century, the Last Supper was in desperate need of a complete restoration.Pinin Brambilla Barcilon was chosen to head this twenty-year project, and Leonardo, The Last Supper is the official record of her remarkable effort. It first documents the cleaning and removal of the overpainting performed in the other attempts at restoration and then turns to Barcilon's meticulous additions in watercolor, which were based on Leonardo's preparatory drawings, early copies of the painting, and contemporary textual descriptions. This book presents full-scale reproductions of details from the fresco that clearly display and distinguish Leonardo's hand from that of the restorer. With nearly 400 sumptuous color reproductions, the most comprehensive technical documentation of the project by Barcilon, and an introductory essay by art historian and project codirector Pietro C. Marani that focuses on the history of the fresco,

Softcover. St. Paul MN, Minnesota Museum of Art, 1st, 1975, Book: Very Good, Dust Jacket: None, Softcover, 64 pages. Paintings; Drawings; Watercolors; Prints 1949 - 1975. 50 color and b&w illustrations.

Softcover. Paris, Nathan Image, 1st, 1988, Book: Very Good, Dust Jacket: None, Softcover. Unpaginated. Approximately 175 pages, mostly color reproductions of Avery's storyboard drawings from his glory years at Warner Bros. and MGM. FRENCH TEXT. This lavishly illustrated reference is shot from the original storyboards of Avery's various cartoons shorts. These are annotated by Avery in pencil. For any fan of American cartoon shorts & Tex Avery in particular, this is an essential guide.

Hardcover. NY, Watson-Guptill, 1st, 2011, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards with a gray cloth spine. The practice of drawing distilled to its essential elements. The companion DVD enclosed inside, beautifully filmed in Florence, Italy, provides real-time drawing lessons so that any gaps in the learning process are filled in with live instruction.  In this elegant and inspiring primer, master contemporary artist and author Juliette Aristides breaks down the drawing process into small, manageable lessons; introduces time-tested principles and techniques that are easily accessible; and shares the language and context necessary to understand the artistic process and create superior, well-crafted drawings. Clean copy.

Softcover. London, Hamish Hamilton Ltd., Reprint, 1988, Book: Very Good, Dust Jacket: None, 454 pages. Softcover with moderate wear to edges, creases to cover & spine. Light foxing throughout & to top edge. Toning to edges. Includes drawings in bw by the author, decorating his letters, memoirs. Over 20 additional portraits in black & white. Clean copy.

Hardcover. UK, Frederick Warne, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 240 pages. Profusely illustrated in black and white and color . Charming collection of personal letters written by beloved author Beatrix Potter. The collection begins with an 1893 letter to a young friend, Noel Moore, when the youngster was ill; Potter would go on to write many letters, most often to children (particularly to the family of her former governess, Annie Moore), told funny anecdotes about her pets and her holidays, and copiously illustrated them with witty drawings. Clean copy.

Hardcover. Seattle, Fantagraphics, 1st, 2025, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards. 130 pages, b&w comic art by Hernandez. Ten years in the making (and torn from the pages of the legendary Love and Rockets), Jaime Hernandez's graphic novel skillfully weaves two generations of his beloved characters into a satisfying story of love - both young and middle-aged. Life Drawing darts primarily between the youthful Tonta and the venerable Maggie. Tonta has a crush on her art teacher, Ray, as well as an axe to grind with an older woman in the neighbourhood. When Tonta finds that the woman, Maggie, is married to Ray, things get complicated. And Tonta does not handle complications well. Life Drawing showcases Hernandez's brilliant talent for character, weaving relationships, rejections, infidelities, and adventures. Clean copy.

Hardcover. NY, Henry Holt, 1st, 2019, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. An up close and personal portrait of a legendary filmmaker, theater director, and comedian, drawing on candid conversations with his closest friends in show business and the arts-from Dustin Hoffman and Meryl Streep to Natalie Portman and Lorne Michaels. The work of Mike Nichols pervades American cultural consciousness-from The Graduate and Who's Afraid of Virginia Woolf? to Angels in America, The Birdcage, Working Girl, and Primary Colors, not to mention his string of hit plays, including Barefoot in the Park and The Odd Couple. If that weren't enough, he was also one half of the timelessly funny duo Nichols & May, as well as a founding member of the original improv troupe. Over a career that spanned half a century, Mike Nichols changed Hollywood, Broadway, and comedy forever. Most fans, however, know very little of the person behind it all. Since he never wrote his memoirs, and seldom appeared on television, they have very little sense of his searching intellect or his devastating wit. They don't know that Nichols, the great American director, was born Mikail Igor Peschkowsky, in Berlin, and came to this country, speaking no English, to escape the Nazis. They don't know that Nichols was at one time a solitary psychology student, or that a childhood illness caused permanent, life-altering side effects. They don't know that he withdrew into a debilitating depression before he "finally got it right," in his words, by marrying Diane Sawyer. Remainder dot to bottom edge otherwise clean.

Softcover. Utica NY, Munson-Williams-Proctor Institute, 1st, 1994, Book: Very Good, Dust Jacket: None, Softcover, 160 pages. Illustrated in b&w and color. Published on the occasion of the multi-venue exhibition held from 1994-1996 featuring masterworks on paper by Copley, Kensett, Audubon, Blakelock, Bluemner, Storrs, Cadmus, Pollock, and many others. Clean copy.

Hardcover. NY, Stewart, Tabori, & Chang, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover. Non-paginated. B&w and 2-color drawings by Blechman. Clean, tight copy with only minor wear to dust jacket.

NY, William Morrow, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, price-clipped dust jacket. 364 pages, b&w photos. Novelist Peter Feibleman first met world-famous playwright Lillian Hellman when he was ten and she was thirty-five-years old, and out of that first encounter there grew romantic friendship that was to blossom into a love affair--one that ended only with her death. Drawing on many of her letters, private journals, and conversations recorded by them both specifically for this memoir, and on her later published and unpublished works, as well as on his own diaries, Feibleman brings to life one of the most glittering, fascinating, and complex women of our time. LILLY is replete with anecdotes about Miss Hellman's celebrated friends, including Dashiell Hammett, with whom she shared her life for many years; Dorothy Parker; Elizabeth Taylor, who made a triumphant stage appearance in 'The Little Foxes'; Mike Nichols; Elaine May; Leonard Bernstein; and her Martha's Vineyard neighbors--Jules Feiffer, Barbara and John Hersey, Ann and Art Buchwald, Rose and William Styron, and many, many others. Her animosities are depicted as well, including her lengthy and virulent feud with Mary McCarthy. What emerges is an intensely personal portrait, unique and fully realized, of an immensely talented writer, her ways of loving, and her world.

Hardcover. Flagstaff, Arizona, Northland Press, 1st, 1986, Book: Very Good, Dust Jacket: Very Good, Hardcover, 132 pages. Dark brown cloth cover with gilt lettering to spine, color illustrated dust jacket, numerous color and b&w plates of Russell's oils, drawings, watercolors, bronzes and illustrated letters. Light wear to dust jacket; overall a tight, clean copy.

Hardcover. New York , Treasure Books/ Grosset & Dunlap, 1st, 1950, Book: Good, Dust Jacket: None, Hardcover, illustrated boards, 28 pages. Color drawings throughout by Art Seiden. Light cover wear.

Hardcover. Evergreen/Taschen, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 432 pages. A reproduction of some of the "Little Nemo" comic strip from the early 20th century. This volume reflects the distinctive art-nouveau style of the original drawings and follows Little Nemo as he journeys nightly into the world of dreams. The strip was introduced to America over a century ago, and these pages still have the power to astonish and touch anyone that reads them. The utter timelessness of this strip, both in artwork and vision, is the kind of testament to genius that very few graphic artists ever receive. Winsor McCay was such a genius and his major work, Little Nemo in Slumberland, is a vastly rich exploration of human dreams.

Hardcover. Library of American Comics, 1st, 2014, Book: Very Good, Dust Jacket: None, Oblong hardcover, 336 pages. In Alley Oop, Hamlin created a unique concept, marrying his fascination with dinosaurs and prehistoric times to a rollicking style of storytelling and drawing that was simultaneously serious, fantastic, and loaded with slapstick. The series was set in the kingdom of Moo and starred Alley Oop, the club-wielding caveman, his girlfriend Ooola, friends Dinny the dinosaur and Foozy (who speaks in rhyme), plus Oop's rival, King Guz, and Guz's Queen Umpateedle. Yet Hamlin knew that the strip's horizons in Moo were limited. So it was, in early 1939, that Alley Oop and Ooola see a mysterious box and, to the utter amazement of Guz and his minions, promptly fade from view, followed by the caption: "Dear Reader: you must now say goodbye to Moo...if you are to follow Alley Oop in this strangest of many strange adventures. --V. T. Hamlin". Oop and Ooola had entered a time machine and were now living in the modern-day 20th Century! Their host was the inventor of the time machine, Dr. Elbert Wonmug! No change of such magnitude had ever occurred in a continuing newspaper strip, and readers responded enthusiastically. With every time period in history available as a backdrop, Alley Oop became even more popular. This volume features Oop's final Moo adventure, followed by his trips to the 20th Century and ancient Greece, where he and Ooola share adventures with brave Ulysses, the lovely Helen of Troy, and the mighty Hercules. V.T. Hamlin would send his characters everywhere and everywhen--but the classic Alley Oop begins with the stories contained in this volume. The book is introduced by Michael T. Price, who first met V. T. Hamlin in the 1960s and remained friendly with him for the rest of the cartoonist's life. Price also composed the musical score for Hip Pocket Theatre's production, Alley Oop.

Hardcover. NY, Grand Central Publishing, 1st, 2023, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 388 pages. Drawing on contributions from remaining members, contemporaneous musicians, critics, filmmakers, and the generation of artists who emerged in their wake, this "monumental origin story" celebrates the legacy of the Velvet Underground, which burns brighter than ever in the 21st century. Rebellion always starts somewhere, and in the music world of the transgressive teen--whether it be the 1960s or the 2020s--the Velvet Underground represents ground zero. Crystallizing the idea of the bohemian, urban, narcissistic art school gang around a psychedelic rock and roll band--a stylistic idea that evolved in the rarefied environs of Andy Warhol's Factory--the Velvets were the first major American rock group with a mixed gender line-up. They never smiled in photographs, wore sunglasses indoors, and invented the archetype that would be copied by everyone from Sid Vicious to Bobby Gillespie. They were avant-garde nihilists, writing about drug abuse, prostitution, paranoia, and sado-masochistic sex at a time when the rest of the world was singing about peace and love.