france

Hardcover. Cambridge MA, Harvard University Press, 3rd pr., 2017, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 370 pages with index. Photographs, illustrations, notes, index. "This is the story of how America's first women soldiers helped win World War I, earned the vote, and fought the U.S. Army. In 1918, the U.S. Army Signal Corps sent 223 women to France. They were masters of the latest technology: the telephone switchboard. General John Pershing, commander of the American Expeditionary forces, demanded female 'wire experts' when he discovered that inexperienced doughboys were unable to keep him connected with troops under fire. Without communications for even an hour, the army would collapse". Clean copy.

Hardcover. NY, Harry N. Abrams, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 240 pages. This stylish book re-creates the charmed life of two American expatriates in France at the turn of the 20th century-the noted artist Walter Gay and his wife, Matilda, whose glittering social circle included John Singer Sargent, Edith Wharton, Henry James, and many other artists and aristocrats. Narrated by witty excerpts from Matilda Gay's recently discovered journal, and richly illustrated with Walter Gay's remarkable, sought-after paintings of the rooms in which they and their friends lived, in Paris, Fontainebleau, Venice, and elsewhere, A Charmed Couple offers an intimate glimpse of a long-gone social milieu whose hold on the popular imagination continues to this day. WILLIAM RIEDER is a curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art in New York. Author of numerous articles, most on European furniture, in such journals as Architectural Digest, Connoisseur, and Antiques, he lives in New York City. 128 illustrations, 55 in full color, 81/2 x 101/2".

Hardcover. NY, St. Martin's Press, 2nd pr., 2018, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 388 pages, b&w illustrations. A revealing biography of Florence Gould, fabulously wealthy socialite and patron of the arts, who hid a dark past as a Nazi collaborator in 1940's Paris.Born in turn-of-the-century San Francisco to French parents, Florence moved to Paris at the age of eleven. Believing that only money brought respectability and happiness, she became the third wife of Frank Jay Gould, son of the railway millionaire Jay Gould. She guided Frank's millions into hotels and casinos, creating a luxury hotel and casino empire. She entertained Zelda and Scott Fitzgerald, Pablo Picasso, Joseph Kennedy, and many Hollywood stars-like Charlie Chaplin, who became her lover. While the party ended for most Americans after the Crash of 1929, Frank and Florence stayed on, fearing retribution by the IRS. During the Occupation, Florence took several German lovers and hosted a controversial Nazi salon. As the Allies closed in, the unscrupulous Florence became embroiled in a notorious money laundering operation for Hermann Goring's Aerobank.Yet after the war, not only did she avoid prosecution, but her vast fortune bought her respectability as a significant contributor to the Metropolitan Museum and New York University, among many others. It also earned her friends like Estee Lauder who obligingly looked the other way. A seductive and utterly amoral woman who loved to say "money doesn't care who owns it," Florence's life proved a strong argument that perhaps money can buy happiness after all.

Hardcover. NY, Random House, 1st, 2016, Book: Very Good, Hardcover in a bright, unclipped dust jacket. 1941. The City of Light is dark and silent at night. But in Paris and in the farmhouses, barns, and churches of the French countryside, small groups of ordinary men and women are determined to take down the occupying forces of Adolf Hitler. Mathieu, a leader of the French Resistance, leads one such cell, helping downed British airmen escape back to England. Alan Furst's suspenseful, fast-paced thriller captures this dangerous time as no one ever has before. He brings Paris and occupied France to life, along with courageous citizens who outmaneuver collaborators, informers, blackmailers, and spies, risking everything to fulfill perilous clandestine missions.

Hardcover. Cambridge UK, Cambridge University Press, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 288 pages.This substantial and unusual volume is not an encyclopedic summary of names, dates, and images but a roughly chronological series of scholarly, sometimes provocative essays by specialists in various aspects of the medium's history. Contributors (identified only in the table of contents) are from France, Italy, Germany, Switzerland, England, and the United States. The chapters on photo-journalism, the illustrated press, and photography between the world wars are particularly informative, while high-quality illustrations from public and private collections worldwide convey photography's technical and aesthetic development and its ubiquity.

Hardcover. New Castle DE, Oak Knoll, 1st, 2004, Hardcover in a bright dust jacket. A History of the Eragny Press, 1894-1914, is a full and exceptionally well-researched account of the Press. It begins with a brief survey of Lucien Pissarro's early career in France in order to establish the influences and motivations for his book designs and proceeds to examine Lucien's association with Charles Ricketts, the establishment of the Eragny Press, and the Press' relationship to the publishers Hacon & Ricketts. Eragny was not a commercial publisher, yet profits was an important motivation for the Pissarros. Included here is the first major account for a private press of the costs of production, profits, and marketing and distribution practices. Eragny Press books were promoted and sold in England, the Continent, and the United States. Two of the Eragny Press books were the results of commissions from French bibliophile clubs. This history of the Eragny Press includes a discussion of the influences and artistic theories that are the basis for the Pissarros' books and provides a critical reassessment of their significance within the history of the English Arts and Crafts Private Press movement. About half the book is devoted to an exhaustive and detailed bibliography of all the Eragny Press publications, with critical commentary on each. Accompanying the text and the descriptive bibliography are more than seventy-five reproductions of rare Eragny wood engravings ( by Lucien Pissarro, T. Sturge Moore, and others), title pages, borders and decorated initials, binding papers, and book covers. A History of the Eragny Press, 1894-1914, is an important book for anyone interested in the history of printing, the Arts and Crafts movement, Impressionism, private presses, the art of wood engraving, and illustrated and fine books.

Hardcover. NY, Macmillan, 1st, 1921, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with gilt lettering on spine. 220 pages, a Jewish Chaplain's memoir of service in France during WWI. Foreword by Cyrus Adler. Frontis photo of Jewish welfare workers. Bookplate from private library on inside front cover, faded lettering on spine otherwise a clean, tight copy.

Hardcover. NY, Knopf, 1st, 20, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Drawing on original and exhaustive research from interviews and never-before-seen material in the Picasso family archives, this book opens with a visit by the Hungarian-French photographer Brassai to Picasso's chateau in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Marie-Therese, Picasso's mistress and muse. Picasso was contributing to Andre Breton's Minotaur magazine and he was also spending more time with the likes of Man Ray, Salvador Dali, Lee Miller, and the poet Paul Eluard, in Paris as well as in the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur--head of a bull, body of a man--and created his most famous etching, Minotauromachie. Richardson shows us the artist is as prolific as ever, painting Marie-Therese, but also painting the surrealist photographer Dora Maar who has become a muse, a collaborator and more. In April 1937, the bombing of the town of Guernica during the Spanish Civil War inspires Picasso's vast masterwork of the same name, which he paints in just a few weeks for the Spanish Pavilion at the Paris World's Fair. When the Nazis occupy Paris in 1940, Picasso chooses to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso meets Francoise Gilot who would replace Dora, and as Richardson writes, "rejuvenate his psyche, reawaken his imagery and inspire a brilliant sequence of paintings." As always, Richardson tells Picasso's story through his work during this period, analyzing how it shows what the artist was feeling and thinking. His fascinating and accessible narrative immerses us in one of the most exciting moments in twentieth century cultural history, and brings to a close the definitive and critically acclaimed account of one of the world's most celebrated artists.

Hardcover. NY, Universe/Rizzoli, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, unpaginated. Renowned New Yorker cover illustrator Jean-Jacques Sempe illustrates the quirky charm of France's capital and it's residents with his signature style and humor. His drawings are famed for their striking use of pen and ink, their inimitable style, and most of all for their satire and tragic-comic vision. The 128 drawings in this charming portfolio are sweet and sentimental. Clean copy.

Softcover. Galway, The Friends of Thoor Ballylee, 1st, 1973, Book: Very Good, Dust Jacket: None, Softcover, 8 page booklet printed at The Brewhouse Press for The Friends of Thoor Ballylee in a limited numbered edition of 500 copies. This is copy #66. Produced by Rigby Graham and Trevor Hickman. Green wrap-around outer card covers with gilt illustration on front cover. Thread bound. Two b/w drawings (including frontispiece) and one color illustration by Rigby Graham. Laid in is a note card signed by curator Frances MacNally. Clean copy.

Hardcover. NY, Viking, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, price-clipped dust jacket. The second novel in Friedman's highly-praised mystery-suspense series featuring Georgia Lee Maxwell set in France. Remainder line to top edge. Otherwise clean.

Hardcover. Boston, Houghton Mifflin, 1st, 1955, Book: Very Good, Dust Jacket: Fair, Hardcover in a shelfworn dust jacket, 64 pages. With illustrations on nearly every page, including a multi colored double page frontispiece and a double page illustration at the end. This charming story set in a fishing village on a lake in France, and the adventures of two village children.

Hardcover. New Haven, Yale University Press, 1st, 1985, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth, 262 pages. Illustrated with black & white photographs. Clean, tight copy. This portrait of Disderi and the carte de visite he patented in Paris in 1854 is far more than a biography. The c-d-v, or photographic calling card, was a relatively inexpensive product that made the photographic portrait available to the middle class . McCauley's carefully documented work explores Disderi's career and oeuvre , the impact of mass-produced celebrity cartes on the social and cultural life of mid-19th-century France, and aesthetics in c-d-v portraiture. The final third of the book is an art historical evaluation of the importance of the c-d-v for portrait painting of the period . The fine bibliography, generous illustrative matter, and detailed notes add to the value of this work for the avid student of photohistory or 19th-century studies.

Hardcover. NY, Mysterious Press , 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. This first American edition of collected true-crime pieces from the '50s and '60s by the master author of Epitaph for a Spy, Journey Into Fear, The Light of Day et al. belongs on every fan's bookshelves. Ambler's polite, leisurely stroll down memory lane is a delight. He deals with classic villains from England (Jack the Ripper), Scotland (William Burke and William Hare) and France (Marcel Petiot) along with more recent miscreants: England's James Hanratty (1961) and America's Raymond Finch and Carole Tregoff (1960). Ambler also turns his good-natured, sharp eye on film-writing and the pleasures of Maxim's, and there are lovely semifictional pieces on spies and spy-spotting. Especially delicious is the tale of "Annettee" in 1937 Tangier. There's nothing heavy here, and even Ambler's opposition to the death penalty is quietly posited. His new introduction has its share of graceful nuggets, too.

Hardcover. London, Frances Lincoln Limited, 1st, 2011, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 125 pages. In a delightful photo essay, acclaimed photographer Eamonn J. McCabe captures some of what makes the English village of Firle in East Sussex come alive. Big open skies, small boys holding a colorful caterpillar, cabbages and tea cosies, bonfires, bikers, dogs and wellies. This is a book for all those who cherish English country life.

Hardcover. New York , Farrar, Straus and Giroux, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped jacket. SIGNED BY MCCLINTOCK on title page. When Simon's older sister, Adele, picks him up from school, he has his hat and gloves and scarf and sweater, his coat and knapsack and books and crayons, and a drawing of a cat he made that morning. Adele makes Simon promise to try not to lose anything. But as they make their way home, distractions cause Simon to leave something behind at every stop. What will they tell their mother?

Chicago, Beckley-Cardy Co., 1st, 1932, Book: Fair, Dust Jacket: None, Hardcover school primer, blue cloth decorated in black and orange. 303 pages, three-color illustrations by Clara Atwood Fitts. About 10 pages with some chipping and short tears.

Hardcover. Chicago, Rand McNally , unknown, Book: Very Good, Dust Jacket: None, Hardcover, 80 pages, 15 color plates and b&w drawings by Warner Carr. Green boards with color label, sharp, clean copy.

Hardcover. France, Arthaud, 1st, 1967, Book: Very Good, Dust Jacket: Very Good, 209 pages. French text. Minor dust jacket edge wear and tear with minor yellowing on inside flaps. Otherwise, a very clean and tight copy.

Hardcover. Boston, Houghton Mifflin, 2nd pr., 1969, Book: Very Good, Dust Jacket: Good, Hardcover in a worn, chipped dust jacket, 505 pages with b&w illustrations. Amazing detail, yet easily flowing narrative of the governor who preceded FDR, who--with Frances Perkins assistance as Industrial Commissioner--shaped a state's humane response to sweatshops, immigration. His 1928 presidential campaign faced burning Klu Klux Klan crosses and harrassment when he ventured outside the Northeast. After losing to Herbert Hoover he left his successor to Governor of New York, Franklin D. Roosevelt, a working government and blueprint for social reform that Roosevelt would later put to use as President. Name on half title page, otherwise clean internally.

Hardcover. New Havn CT, Yale University Press, 1st , 2001, Book: Very Good, Dust Jacket: Very Good, 333 pages. Hardcover with dust jacket. Illustrated in color, B&W. Clean, tight copy. Few painters lived the intellectual adventures of the early twentieth century as intensely as Albert Gleizes. At the centre of the public scandal over Cubism that broke out in Paris in 1911, he was with Marcel Duchamp and Francis Picabia in New York during the war and was one of the first European avant-garde artists to respond to the scale and vigour of New York life. Gleizes was also one of the few French painters of the 1920s to recognise nonrepresentational painting as the logical development of Cubism. His work as a painter is accompanied by an immense body of theoretical work, addressing the question posed so starkly by Duchamp and Picabia: why should we paint? What is the justification for the work of art? Over his life he touches on many spheres of human activity - religious, political and cultural history, physics and the philosophy of work.This book follows Gleizes' argument as it evolves, drawing on painting, and both published and unpublished writings. It reveals Gleizes, not just as a significant historical personality, but as a man whose work and thinking remains surprisingly fresh and relevant to the needs of our own time.

Softcover. Ithaca NY, Cornell University Press, reprint, 2004, Book: Very Good, Dust Jacket: None, Softcover, 283 pages. A particularly vicious and bloody civil war has racked Algeria for a decade. Amnesty International notes that since 1992, in a population of 28 million, 80,000 people have been reported killed, and the actual total is almost certainly higher. This terrible war overshadows Algeria's long and complex history and its prominence on the world economic stage-second in size among African nations, Algeria has the longest Mediterranean coastline and contains the world's fifth-largest natural gas reserves. Algeria, 1830-2000 is a comprehensive narrative history of the country. Benjamin Stora, widely recognized as the leading expert on Algeria, presents the story of this turbulent area from the start of formal French colonialism in the early nineteenth century, through the prolonged war for independence in the latter 1950s, to the internal strife of the present day.This book adapts and updates three short volumes published originally in French by La Decouverte. For this English edition, Stora has written a new introductory chapter on Algeria's colonial period (1830-1954) and has revised the final section to bring the volume up to date.

Softcover. Paris, DIANE SELLIERS, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Softcover, in a pictorial dust wrapper, 395 pages. Color illustrations by Pat Andrea give a whole new surrealistic look to the classic tales. FRENCH TEXT.

Hardcover. NY, Harper & Row, 1972, Book: Very Good, Dust Jacket: None, Hardcover, pictorial cloth, 61 pages illustrated in 3-colors by Frances Zweifel. A Science I CAN READ Book. Clean copy.