Hardcover. NY, HarperCollins, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 186 pages. Earl Pryor is the biggest thirteen-year-old anyone ever saw. He's taller than a lot of grown-ups. He's got a hairy chest. He shaves. High school kids ask him to buy them beer. Everyone thinks Earl's so tough, such a troublemaker, such a man. They come to him looking for a fight. And Earl will fight them. But he's not so tough: He loves his mom, loves his dad. Still, a man's got to take care of himself. He's got to make people respect him. If Earl's dad has taught him anything, he's taught him that. When Earl gets suspended from school for a week for fighting, he figures he'll fill up the days somehow. But a lot can happen in a week. His family is falling apart. Everything he counted on is falling apart, and Earl's still learning what it really means to be a man. Clean, bright copy.

Chicago, CIty Files Press, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. A wonderful collection of amateur photographs. These personal snapshots form a pictorial history of everyday Americans from the last century. Unpaginated, 350 b&w and color images. Clean copy.

Hardcover. New York, Greenwillow Books, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Non-Paginated. Hardcover in a bright, unclipped dust jacket.. Full color illustrations by Nancy Winslow Parker. Clean, tight copy. Preparing for a Halloween party, a little girl pulls together various articles of clothing to come up with a suitable costume. Each item is depicted in rebus fashion in cumulative lines of verse. She ends up with two different costumes using the same garments, but, in the end, she receives a ready-made witch's outfit from Grandma.

Softcover. Philadelphia, David McKay Company, 1st, 1933, Book: Very Good, Dust Jacket: None, Flexible stiff cardboard pictorial covers. Red cloth spine. Wonderful color cover & b/w art by Walt Disney artists. Early 1933 Disney publication issued when the song "Who's Afraid of The Big Bad Wolf?" topped the Hit Parade in the Great Depression. Bottom front corner of cover with chipping to paper, otherwise very good, clean.

Hardcover. NY, Farrar & Rinehart, 1st, 1943, Book: Very Good, Dust Jacket: Fair, Hardcover, unpaginated. Foreword by Wolcott Gibbs. Dust jacket faded. George Price (1901-1995) was an American cartoonist. Price started doing cartoons for The New Yorker magazine in 1929. He continued contributing to the New Yorker well into his eighties, displaying a talent for both graphic innovation (many of his cartoons consisted of a single, unending line) and for a wit that somehow combined the small issues of domestic life with a topical sensibility.

Hardcover. New York, Farrar & Rinehart, 1st, 1943, Book: Very Good, Dust Jacket: Very Good, Unpaginated, b&w cartoons by Price from the New Yorker, Saturday Evening Post, Colliers, etc. Dust jacket with light fade to blue, otherwise very good.

Softcover. Hanover NH, Dartmouth College, First Thus, 2000, Book: Very Good, Dust Jacket: None, 149 pages. Softcover published to commemorate the seventy-fifth anniversary of the graduation from Dartmouth College of Theodor Seuss Geisel. Grey cloth covers with silver titles to cover. Clean, unmarked copy.

Hardcover. Boston, Little Brown , 1st, 1987, Book: Very Good, Dust Jacket: Very Good, 32 pages. Hardcover with dust jacket. B&w art by Ed Young. SIGNED BY NORMAN on title page. Red remainder line bottom edge otherwise near fine.

Hardcover. New York, Van Nostrand, 1st, 1982, Book: Very Good, Dust Jacket: Very Good, Hardcover, 320 pages, illustrated throughout with numerous charts, illustrations and photos in b&w. Cream cloth, pictorial dust jacket. A very nice, tight copy.

Hardcover. White Plains NY, Peter Pauper Press, 1st, 2005, Book: Very Good, Dust Jacket: None, Hardcover. Soothe little ones' nighttime fears with this unique bedtime book! Shine the beam of a light (not included) through the page ''windows'' to cast pictures on the wall as you read with your child. It's a fun and comforting way to end the day and experience a book together. PUBLISHER'S NOTE: For best results, use this shadow book with a small, single-bulb light source. A small pen light, other single-LED light, or the light on the back of a smartphone is recommended. Multi-LED flashlights are not recommended. If you have trouble getting a clear image, try moving your light closer to or farther away from the page. Clean copy.

Hardcover. Princeton NJ, Princeton University Press, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 208 pages, b&w illustrations. During the economic boom of the 1990s, art museums expanded dramatically in size, scope, and ambition. They came to be seen as new civic centers: on the one hand as places of entertainment, leisure, and commerce, on the other as socially therapeutic institutions. But museums were also criticized for everything from elitism to looting or illegally exporting works from other countries, to exhibiting works offensive to the public taste. Whose Muse? brings together five directors of leading American and British art museums who together offer a forward-looking alternative to such prevailing views. While their approaches differ, certain themes recur: As museums have become increasingly complex and costly to manage, and as government support has waned, the temptation is great to follow policies driven not by a mission but by the market. However, the directors concur that public trust can be upheld only if museums continue to see their core mission as building collections that reflect a nation's artistic legacy and providing informed and unfettered access to them. The book, based on a lecture series of the same title held in 2000-2001 by the Harvard Program for Art Museum Directors, also includes an introduction by Cuno and a fascinating --and surprisingly frank-- roundtable discussion among the participating directors. Uncommon in the hardcover, clean copy.

Hardcover. NY, Dial, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. We all know the joke. We've all told it. Kids love to tell it over and over and over again, with as many different punch lines as possible. And now we've found out that famous award-winning artists love to tell the joke too--and they have some wacky and downright hilarious ideas about why that chicken really did cross the road. Mo Willems's chicken confesses his motives to a police officer; David Shannon's chicken can drive a car; Marla Frazee's chicken is looking for a more luxurious coop; and Harry Bliss's chicken encounters aliens. And this is just the beginning. One thing is for sure--you won't cross this book without a good laugh!

Hardcover. New York, Coward, McCann & Geoghegan, 5th pr, 1974, Book: Good, Dust Jacket: None, Hardcover. 47 pages. Black & white and two-color illustrations by Trina Schart Hyman. INSCRIBED BY HYMAN on front end paper. Soiling, fading to covers.

Softcover. NY, Aperture, 3rd pr., 1994, Book: Very Good, Dust Jacket: None, Softcover, 186 pages. A now classic text on the art, Why People Photograph gathers a selection of essays by the great master photographer Robert Adams, tackling such diverse subjects as collectors, humor, teaching, money and dogs. Adams also writes brilliantly on Edward Weston, Paul Strand, Laura Gilpin, Judith Joy Ross, Susan Meiselas, Michael Schmidt, Ansel Adams, Dorothea Lange, and Eugene Atget. The book closes with two essays on "working conditions" in the nineteenth- and twentieth-century American West, and the essay "Two Landscapes." Clean copy.

Softcover. NY, Aperture, 1st, 1994, Book: Very Good, Dust Jacket: None, Softcover, 186 pages, b&w illustrations. A now classic text on the art, Why People Photograph gathers a selection of essays by the great master photographer Robert Adams, tackling such diverse subjects as collectors, humor, teaching, money and dogs. Adams also writes brilliantly on Edward Weston, Paul Strand, Laura Gilpin, Judith Joy Ross, Susan Meiselas, Michael Schmidt, Ansel Adams, Dorothea Lange, and Eugene Atget. The book closes with two essays on "working conditions" in the nineteenth- and twentieth-century American West, and the essay "Two Landscapes." Name on front fly leaf otherwise clean.

Hardcover. Oxford UK, Clarendon Press, reprint, 2005, Book: Very Good, Dust Jacket: None, Hardcover with glossy boards, 204 pages. Why should there be anything at all? Why, in particular, should a material world exist? Bede Rundle advances clear, non-technical answers to these perplexing questions. If, as the theist maintains, God is a being who cannot but exist, his existence explains why there is something rather than nothing. However, this can also be explained on the basis of a weaker claim. Not that there is some particular being that has to be, but simply that there has to be something or other. Rundle proffers arguments for thinking that that is indeed how the question is to be put to rest. Traditionally, the existence of the physical universe is held to depend on God, but the theist faces a major difficulty in making clear how a being outside space and time, as God is customarily conceived to be, could stand in an intelligible relation to the world, whether as its creator or as the author of events within it. Rundle argues that a creator of physical reality is not required, since there is no alternative to its existence. There has to be something, and a physical universe is the only real possibility. He supports this claim by eliminating rival contenders; he dismisses the supernatural, and argues that, while other forms of being, notably the abstract and the mental, are not reducible to the physical, they presuppose its existence. Name, date on front fly leaf. Light pencil marking to about 20 pages.

Hardcover. Jackson MS, University Press of Mississippi, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover, 240 pages. Like new in publisher's shrink-wrap. Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay's interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America.McCay's role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City's burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay's work to relevant children's literature, advertising, architecture, and motion pictures in order to demonstrate the artist's sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay's work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay's drawings and the eighty-one black and white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.

Softcover. NY, Frank Tousey, 1st, 1909, Book: Fair, Dust Jacket: None, Stapled wraps in color, worn, chipping, short tears to margin, chipping of cover but not affecting image. Cover art is bright. Owner's name written in ink above masthead. 30 pages, cheap pulp paper. Offered for cover art.

Hardcover. NY, Abbeville Press, 1st US, 1990, Book: Very Good, Dust Jacket: Very Good, Hardcover, 272 pages, illustrated throughout with 700 illustrations, including 194 in full color. Minor edgewear to dust jacket. Clean, tight copy.

Hardcover. Lausanne, Acatos, 1st, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket., 206 pages. With photographs and reproductions in color and black and white of Lam's paintings and drawings. With facsimile of small booklet by Andre Breton in pocket inside front cover.

softcover. Madrid, Museo Nacional Centro de Arte Reina Sofia, 1st, 1992, Book: Very Good, Dust Jacket: None, 156 pages. Softcover with light fading to spine. Edgewear to corners, wrappers. Color pictures throughout. SPANISH TEXT.

Softcover. Seattle, WA, Fantagraphics Books, 1st paperback, 1994, Book: Very Good, Dust Jacket: None, 129 pages. Softcover. B/w illustrations throughout. Wrapper very good. Binding tight. Pages clean and unmarked. A touch of soil (shelfwear) to edges.

Hardcover. NY, Abrams, 1st, 1991, Large hardcover in a bright, unclipped dust jacket. Uncommon monograph regarding British ornithological painter Basil Ede with contributions by H.R.H. The Prince Philip, Walter H. Annenberg, and Jack Warner plus an essay by Robert McCracken Peck. Includes 103 color plates including one foldout as well as 15 b/w illustrations. Clean copy.

Hardcover. New York, G.H. Buek, 1st, 1894, Book: Very Good, Dust Jacket: None, Hardcover, oblong light beige cloth with gilt title and decoration. Non-Paginated. Illustrated with 288 clean full color plates. Front and rear hinges cracked but holding with spine cloth. Light wear to covers. Originally published in parts as a Botanical Fine Art Weekly publication.

Hardcover. New York, McGraw-Hill Book Company, 1st, 1966, Book: Very Good, Dust Jacket: None, Volume I, in 2 parts, 559 pages total. Green cloth covers, dark green and gilt titles to spine, 180 color plates, endpapers decorated with map of U.S., profusely illustrated with b&w illustrations. Slight edgewear to covers, otherwise very clean, pages extremely crisp and unmarked, stiff bindings; both books in great condition.

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. New York , Pantheon, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket.110 pages, illustrated throughout in b&w by Spiegelman. Clean, tight copy. The quintessential hardboiled twenties poem, basis for two stage musicals and a 1975 film directed by James Ivory and starring James Coco and Raquel Welch. Remainder dot to top edge.

Hardcover. London, S.O. Beeton, 1st, 1862, Book: Very Good, Dust Jacket: None, Hardcover, 3/4 leather tooled binding with raised decorated bands on spine. 426 pages. Illustrated with woodcuts by Harden Melville and William Harvey. 10 color illustrations from water-color drawings by J.R. Zweker, Harrison Webb, and Harden Melville. Six fold-out maps. Marbled edges. Endpapers with light foxing. Rubbing wear to spine edges, small scuff mark to front leather edge. Corners bumped, worn. A fascinating work of hunting and natural history by journalist and novelist James Greenwood discusses the history, habits and physiology of a number of species of big game, including tigers, elephants, hippos and leopards. The work also offers information regarding the methods of their hunting including weaponry and tactical movements. The work is particularly noted for its discussion regarding deer hunting, with anecdotal evidence regarding the capacity of the white tail deer to heal from extremely serious wounds.

Hardcover. NY, Rinehart & Company, 1st, 1958, Book: Very Good, Dust Jacket: Good, Hardcover in a lightly worn dust jacket. 344 pages illustrated with b&w drawings by the author. Clean copy.

NY, Sterling, reprint, Book: Very Good, Dust Jacket: None, Hardcover, glossy pictorial boards. Acclaimed artist and naturalist Jim Arnosky has created a breathtaking and informative reference on the subject, filled with intricately drawn prints from creatures both wild and domestic, as well as large-scale paintings of the animals in their environment. Best of all, many of the tracks are true to size, so children can compare the trace left by a big-footed polar bear (whose paws act as snowshoes in its icy environment) with that of a small bird. Adding to the eye-catching illustrations are four awesome gatefolds that display paintings of a bobcat, wolf, deer and a variety of hoofed animals right next to their prints. And the featured menagerie includes bighorn sheep and goats, chipmunks and rabbits, grizzlies and brown bears, horses and burros, domestic cats and dogs and even slithering reptiles!

Hardcover. NY, Holt, Rinehart and Winston, 1st, 1967, Book: Very Good, Dust Jacket: Good, Hardcover in a worn, chipped dust jacket. Dark blue cloth, 274 pages. Fully illustrated with reproductions of Father Point's paintings and drawings, most in full color. DOMESTIC SHIPPING ONLY.

Hardcover. London, Picador, 4th pr., 2018, Hardcover in a bright dust jacket. In Wilding, Isabella Tree tells the story of the 'Knepp experiment', a pioneering rewilding project in West Sussex, using free-roaming grazing animals to create new habitats for wildlife. Part gripping memoir, part fascinating account of the ecology of our countryside, Wilding is, above all, an inspiring story of hope. 362 pages, color photos. Small ownership sticker on front fly leaf, otherwise clean.

Hardcover. Munich, Fr. Bassermann, 1st, Book: Very Good, Dust Jacket: Very Good, Hardcover, beige cloth with red-stamped spine and cover titles. 356 pages with b&w cartoon illustrations by the German artist's works. GERMAN TEXT. His picture stories are regarded as one of the main precursors of the modern comic strip. His celebrated best-seller, Max and Moritz, was an inspiration for the Katzenjammer Kids. Clean copy. DOMESTIC SHIPPING ONLY.

Softcover. Princeton NJ, Princeton University Press, reprint, 1991, Book: Very Good, Dust Jacket: None, Softcover, 524 pages. This volume brings together the various parts of the Introduction to the Human Sciences published separately in the German edition. Rudolf Makkreel and Frithjof Rodi have underscored the systematic character of Dilthey's theory of the human sciences by translating the bulk of Dilthey's first volume (published in 1883) and his important drafts for the never-completed second volume. Clean copy.

Hardcover. Princeton NJ, Princeton University Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 399 pages. Volume 3 ONLY in the set of his Selected Works. Provides Dilthey's most mature and best formulation of his Critique of Historical Reason. It begins with three 'Studies Toward the Foundation of the Human Sciences,' in which Dilthey refashions Husserlian concepts to describe the basic structures of consciousness relevant to historical understanding.The volume next presents the major 1910 work The Formation of the Historical World in the Human Sciences. Here Dilthey considers the degree to which carriers of history--individuals, cultures, institutions, and communities--can be articulated as productive systems capable of generating value and meaning and of realizing purposes. Hegel's idea of objective spirit is reconceived in a more empirical form to designate the medium of commonality in which historical beings are immersed. Any universal claims about history need to be framed within the specific productive systems analyzed by the various human sciences. Dilthey's drafts for the Continuation of the Formation contain extensive discussions of the categories most important for our knowledge of historical life: meaning, value, purpose, time, and development. He also examines the contributions of autobiography to historical understanding and of biography to scientific history. Clean, bright copy.

Hardcover. NY, George Braziller, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 90 pages, 37 plates. Internationally acclaimed artist Will Barnet reveals never-before-seen early drawings that profoundly influenced the direction of his career.These intimate drawings portraying Central Park during the Great Depression have never been exhibited or published-until now. The drawings have been stored in Will Barnet's studio for decades, always serving as a reference and source of inspiration for later projects (like the etchings included here) but never coming to light as an independent body of work.

Hardcover. New York, Bloomsbury, 1st US , 2010, Book: Very Good, Dust Jacket: Very Good, 359 pages, hardcover. 16 pages of color illustrations. Extensive b&w illustrations and photographs. Clean, unmarked copy with only minor wear to dust jacket.

Softcover. New York , W. W. Norton & Company, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 81 pages, illustrated throughout in b&w. Clean, unmarked copy with only minor wear to wrappers.

Softcover. New York , W. W. Norton & Company, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 81 pages, illustrated throughout in b&w. Clean, unmarked copy with only minor wear to wrappers.

Hardcover. New York, DC Comics, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 216 pages in color. Like new in publisher's shrink-wrap. The Spirit returns for the third volume in this archival series! In it, Will Eisner's classic crimefighter of the 1940s continues to face off against enemy agents on the homefront. This volume includes an appearance by the sultry Silk Satin, as well as the Spirit's developing relationship with Police Commissioner Dolan and his beautiful daughter Ellen.

Hardcover. Milwaukee, OR, Dark Horse Books, 2nd Ed., 2016, Book: Very Good, Dust Jacket: None, Hardcover, no dust jacket. Like new in publisher's shrink-wrap.

Hardcover. NY, Abrams, 1st, 2015, Book: Very Good, Dust Jacket: None, Hardcover, 220 pages. Will Eisner (1917-2005) is universally considered the master of comics storytelling, best known for The Spirit, his iconic newspaper comic strip, and A Contract With God, the first significant graphic novel. This seminal work from 1978 ushered in a new era of personal stories in comics form that touched every adult topic from mortality to religion and sexuality, forever changing the way writers and artists approached comics storytelling. Noted historian Paul Levitz celebrates Eisner by showcasing his most famous work along-side unpublished and rare materials from the family archives. Also included are original interviews with creators such as Jules Feiffer, Art Spiegelman, Scott McCloud, Jeff Smith, Denis Kitchen, and Neil Gaiman--all of whom knew Eisner and were inspired by his work to create their own graphic novels for a new generation of readers.

Hardcover. New York, Hudson Hills Press, 1st, January 25, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 206 pages with 60 color and 117 b&w plates. Still wrapped in plastic. Oversized. A bright, beautiful copy. This comprehensive book brings together nearly two hundred illustrations from Ore, The Inland Printer, The Chap-Book, Collier's Weekly, and other periodicals, books advertisements, and ephemera. Adding to the volume's reference value are an extensive list of Bradley's published works, bibliography, lists of public collections and exhibitions, and an appendix reprinting his "Primer of Ornament and Design," including previously unpublished material.

Hardcover. Oak Knoll Press, 1st, Book: Very Good, Dust Jacket: None, Hardcover, 216 pages, no dj issued. Will H. Bradley (1868-1962) is widely regarded as one of the masters of book, magazine, and graphic design during the Art Nouveau period. This extensive work also contains a biography of Bradley, a bibliography, and author, title, and publisher indices.

Hardcover. New York, NY, Spanierman Gallery, 1st, 2003, Book: Very Good, Dust Jacket: None, Hardcover, 151 pages, illustrated throughout with plates in full color. Illustrated boards, no dust jacket issued. Light wear to edges of spine, else a clean, tight copy.

Hardcover. Seattle, Fantagraphics, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover, 200 pages. The years 1930-1970 were the Golden Age of both American sports and American comic strips, and we turn your attention to a neglected part of the art form "sports cartooning "and to its greatest practitioner, Willard Mullin. Willard Mullin's Golden Age of Baseball: Drawings 1934-1972 collects for the first time Mullin's best drawings devoted to baseball. Mullin was to baseball players what Bill Mauldin was to soldiers: advocate and critic, investing them with personality, humanity, dignity, and poignancy; Mauldin had Willie & Joe and Mullin had the Brooklyn Bum, his affectionate 1939 character representing the bedraggled figure of the Brooklyn Dodgers.

Hardcover. New York, Abrams, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, 137 pages. Hardcover. SIGNED BY AUTHOR ON TITLE PAGE. Illustrated with full color photographs. Light wear. Clean, tight copy.

Softcover. NY, Whitney Museum of American Art, 1st, 1983, Book: Very Good, Dust Jacket: None, Softcover, 306 pages, b&w and color illustrations throughout, b&w frontispiece. Light edge wear, rubbing to wrappers. Else a very clean, tight copy.

Hardcover. Washington DC, National Gallery /Yale University, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 231 pages, numerous color and bw plates. Catalogue of a de Kooning exhibition, organized by the National Gallery in association with the Tate Gallery and the Metropolitan Museum of Art. This illustrated survey of de Kooning's paintings covers the period from 1938 through 1986. The catalogue, by curator Prather, is preceded by two critical essays: Sylvester's "Flesh Was the Reason" and Shiff's "Water and Lipstick: De Kooning in Transition." 12'' x 9.75''. Clean copy. DOMESTIC SHIPPING ONLY.