Softcover. Tokyo/NY, Kodansha USA, reprint, 1999, Book: Very Good, Dust Jacket: Very Good, Softcover with a dust jacket, 152 pages. Highlights over 130 outstanding examples from the vast holdings of the Victoria and Albert Museum in London. Strikingly original and sumptuously colored, the ukiyo-e in these pages recapture the spirit of the period in which they were created. Here can be found the glamorous courtesans of the Yoshiwara pleasure quarters, the flamboyant vigor of kabuki theater, and the diversities of the Japanese landscape. Clean copy
Softcover. NY, Museum of Modern Art, 3rd Ed., 1978, Book: Very Good, Dust Jacket: None, Softcover, 229 pages, illustrated with 210 photographs, drawings, and plans; bibliography. Clean copy.
Hardcover. Boston, Houghton Mifflin, 1st, 1951, Hardcover in a bright dust jacket, unclipped with $3.00 on flap. The history of the Mississippi River Valley is told through the adventures of Minn, a snapping turtle, as she travels hundreds of miles downstream. As with all Holling books, it is lushly illustrated, containing many full-page color paintings, text pages that are also illustrated with black-and-white pen-and-ink drawings, and with explanatory captions in the margins. First published in Date: 1951, it received the Newbery Honor award the following year. Small ownership sticker to front fly leaf, otherwise clean and bright.
Hardcover. NY, William Helburn, 1st, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with silver stamping. Folio, 9 1/4 X 13 1/2". 80 plates printed on one side only, most in color. No date given but appears to be late 20s/1930. With architect Albert Kahn's ownership signature in pencil on front fly leaf. Covers with edgewear but interior is clean and bright. Bookplate on inside front cover. Scarce. DOMESTIC SHIPPING ONLY.
Softcover. NY, The Bronx Museum of the Arts , 1st, 1983, Book: Very Good, Dust Jacket: None, Oblong softcover. 66 pages with 21 illustrations, commentary on 56 works. Exhibition catalog for a show that ran July 30 through September 25, 1983. Essays by Philip Verre and Julie Saul. Includes numerous illustrations. A very good copy in lightly worn wrappers.
Hardcover. NY, Farrar Straus Giroux, 1st US, 2018, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 598 pages, b&w and color illustrations. In 1827 the young Edward Lear (1812-1888) began to draw 'for bread and cheese'; later he became a renowned wildlife and landscape artist and, later still, the author of the famous limericks and songs. Reproducing many of his paintings and drawings, Jenny Uglow's critically acclaimed biography describes Lear the artist, traveler, writer of nonsense verse and self-appointed exile, and aims to discover 'how the layers are laid down, how they overlap and twist like strata' in a strange contradictory life of art and nonsense. Clean copy.
Softcover. Cambridge MA, MIT Press, 1st, 1978, Book: Very Good, Softcover, 128 pages. INSCRIBED BY BOTH EDITORS on the front endpapers. Contributors include Dziga Vertov ('The Factory of Facts and Other Writings'), Alfred H. Barr, Jr. ('Russian Diary 1927-28', along with Jere Abbott, John E. Bowlt, and Elizabeth Jones), A. V. Lunacharsky ('Gogol-Meyerhold's "The Inspector-General"'), Paul Schmidt (on Meyerhold), Margit Rowell (on Vladimir Tatlin), and Michelson. Related ephemera laid in.
Hardcover. Boston, Houghton Mifflin , reprint, Book: Very Good, Dust Jacket: Fair, Hardcover in a plain tanned dust jacket with just the title and author printed on spine. Navy blue cloth with gilt stamping on spine. 214 pages, many b&w diagrams including one fold-out. A lauded scholar of art history and theory as well as a prominent art collector, Denman Waldo Ross earned his bachelors and Ph.D. at Harvard where he served as a lecturer on art and design. Copyright page states 1912, no date on title page so probably an early reprint. Light pencil notations to blank pages in rear, owner's name on front fly leaf. Otherwise a bright copy.
Hardcover. Nieuwkoop , B. de Graaf, 1st, 1964, Book: Very Good, Dust Jacket: None, Hardcover, dark green cloth covers with gilt lettering, 159 pages with b&w diagrams and illustrations. Subjects include: The base of perspective illussions, third dimension, euclid, anamorphoses, the concave surface of the retina, Schickhardt's problem, eccentric positions of the observer's eye, rotations of the eyeball, visual size, pleudo-perspective, axial construction, rebirth of central perspective, Leon Battista Alberti, Paolo Uccello, the oblique position, Piero della Francesca etc.
Softcover. Albany, State University of New York Press , 1st, 1983, Book: Very Good, Dust Jacket: None, Softcover, 317 pages. Phenomenology in a Pluralistic Context contains papers selected from three years of meetings of the Society for Phenomenology and Existential Philosophy (SPEP). The essays are representative of the most current thinking among North American philosophers who have been influenced by the phenomenological movement. A majority of the selections reveals a considerable mutual influence between phenomenology and other philosophical currents. Special emphasis is given to issues in social and political theory; the philosophy of medicine, of art, of language, and of religion; phenomenology's relationship to Kantianism and to Marxism; and the figures of Merleau-Ponty, Sartre, and Heidegger. Clean copy.
Softcover. Newton MA, Stanley Motor Carriage Company, Book: Good, Dust Jacket: None, Softcover, 36 pages with stapled gray paper covers. B&w drawings/detailed diagrams of various parts, lists of parts with specs for the various models: running gear and mud guards, valves, boiler fittings, engine parts, etc. Includes prices circa 1910. Covers with soil, interior clean with mild wear.
Hardcover. NY, Charles Scribner's Sons, 1st thus, 1933, Book: Very Good, Dust Jacket: None, Hardcover in black cloth with a color paste-down on the front cover. Color illustrated title page. Nine additional full page color illustrations plus endpapers art in 2-colors by C. Bosseron Chambers. The gilt lettering on spine has faded. Interior clean, no dust jacket. Mild spotting to rear cover.
Softcover. London, Omnibus Press, Revised Ed., 1979, Book: Very Good, Dust Jacket: None, Softcover, 270 pages. Compiled by Solomon, Howard Pizzey and Martin Watson. Gives you instant answers to thousands of questions. Listed alphabetically by artists, is every top 50 entry, date of entry, number of weeks in chart, highest position reached, original label and catalogue number, plus details of any corresponding success in the U.S.charts. Clean.
NY, St. Martin's Press, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. A young New York illustrator leaves behind a promising career and returns to her hometown in the Florida panhandle to help the great-aunt who raised her resolve a puzzling series of events suddenly plaguing their decaying family home. Clean copy.
Hardcover. Zurich, Verlag fur Architektur], 1st, 1949, Book: Very Good, Dust Jacket: Fair, Hardcover in a worn, lightly soiled dust jacket with a chunk missing from the rear panel. 180 pages. Text in German, French and English, illustrated in black and white throughout. History of Robert Maillart bridges. Previous owner's signature on inside front cover, otherwise clean.
Softcover. NY, Metropolitan Museum of Art, 1st, 1972, Book: Very Good, Dust Jacket: None, Softcover, exhibition catalog. Introduction by John J. McKendry and texts by Robert Motherwell and Diane Kelder. Slim small quarto. Illustrated in black and white. Spine a bit tanned and wrappers with minor soil. The exhibition was held October 24 - December 3, 1972 at The Metropolitan Museum of Art.
Softcover. Zurich, Galerie Andre Emmerich, 1st, 1974, Book: Very Good, Dust Jacket: None, Softcover, small format, 24 pages, 9 color plates and b&w photo of Motherwell. Mild crease to rear cover, otherwise clean, very good.
Hardcover. NY, Museum of Modern Art, 1st, 1943, Book: Very Good, Dust Jacket: None, Hardcover, brick-red cloth, 143 pages, color frontis., b&w plates. A pioneering exhibition, with essay and catalogue by James Thrall Soby and Dorothy C. Miller. The exhibition checklist cites 213 works by 121 artists, and nearly all are names you would recognize. More than 100 pieces are pictured here. One of 7500 copies. Clean copy.
Softcover. London, Fischer Fine Art Limited, 1st, 1978, Book: Very Good, Dust Jacket: None, Small format softcover, 40 pages illustrated in b&w and color, one fold-out color plate. Clean copy.
Hardcover. NY, David McKay, 1st, 1967, Book: Good, Dust Jacket: Good, Hardcover in a worn and chipped dust jacket, 150 pages. SIGNED BY PIERCE on the front fly leaf. Samantha longs for a part on the stage but in Elizabethan England that is forbidden for girls. She sells oranges instead, hoping to make a living for herself and her invalid mother. However, when her mother dies and Samantha is desperate for a place to stay she realizes the only possibility is to seek refuge with her friend Hugh, an apprentice to John Heminges' theatrical troupe. This requires a reckless masquerade. Rear endpapers with transparent tape.
Softcover. London, Between the Lines, 1st, 2000, Book: Very Good, Dust Jacket: None, Softcover, 112 pages. A 17,000 word interview, with a career sketch, a comprehensive bibliography, and a representative list of quotations from Heaney's critics and reviewers. Also included is Heaney's poem, 'Known World'. Spine faded, clean copy.
Softcover. Cambridge MA, MIT Press, 4th pr., 1977, Book: Very Good, Dust Jacket: None, Softcover, 82 pages, b&w illustrations. The collected writings of the "dean of the New York School of Abstract-Expressionist Painting." "The creative process lies not in imitating, but in paralleling nature; translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive and every work of art should be alive." Thus Hans Hofmann wrote nearly half a century ago. He left the Old World, Germany, for the New, at the age of 50. In 1948, when the retrospective exhibition was held at the Addison Gallery of American Art, Hofmann was 68; he had been in the United States for 18 years, a citizen for seven years. Yet he was scarcely recognized in Europe or America as an artist of significance and had never had a full-scale retrospective exhibition of his work. Beginning with a group exhibition in Germany in 1909, he had been given 12 one-man shows and had been included in four group exhibitions before the exhibit at Andover. Subsequently, he was to have 33 one-man shows and to be in over 60 group exhibitions, including the 1960 Venice Biennale, in which he was one of the four artists chosen to represent America. Clean copy.
 "Modern Lettering: Design and Applicationby: Herbert Hoffmann")
 "Search for the Real and Other Essays by: Hans Hofmann")