Hardcover. NY, Frederick A. Stokes, 1st, 1918, Book: Good, Dust Jacket: None, Hardcover, terra-cotta cloth with a color paste-down on cover, 263 pages, A collection of 35 Native American animal folklore tales. Wood-lore (or, the ways of wild things) are told in an engaging format - a wise old chief holds evening "story-time" sessions with his very curious grandson, Little Beaver. Running through the linked narrative is the little black bear Moween, of whom Little Beaver is particularly fond. Illustrated with 8 color plates, a color title page and an endpapers drawing by Paul Bransom. Light shelf wear.

Hardcover. NY, Pegasus Books, 1st, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, price-clipped dust jacket. Inspired by the twenty-three 'tales', Matthew Dennison takes a selection of quotations from Potter's stories and uses them to explore her multi-faceted life and character: repressed Victorian daughter; thwarted lover; artistic genius; formidable countrywoman. They chart her transformation from a young girl with a love of animals and fairy tales into a bestselling author and canny businesswoman, so deeply unusual for the Victorian era in which she grew up. Embellished with photographs of Potter's life and her own illustrations, this biography will delight anyone who has been touched by Beatrix Potter's work. Clean copy.

Hardcover. University of Washington Press, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 285 pages. Over the Line: The Art and Life of Jacob Lawrence includes essays by eight distinguished art historians examining the ways in which Jacob Lawrence's art speaks so powerfully to different audiences. It is the first multi-author, in-depth probe of the artist's entire career: the nature of his work, his education, the critical climate in which he worked, and his use of materials and techniques. It reproduces, in full color, more than 200 works, most of which have not been published in color, or at all, in other books on the artist.

Hardcover. Los Angeles, Getty Research Institute, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards. From 1940 to 1990, Los Angeles rapidly evolved into one of the most populous and influential industrial, economic, and creative capitals in the world. During this era, the region was transformed into a laboratory for cutting-edge architecture. Overdrive: L. A. Constructs the Future, 1940 - 1990 examines these experiments and their impact on modern design, reframes the perceptions of Los Angeles's dynamic built environment, and amplifies the exploration of the city's vibrant architectural legacy. The drawings, models, and images highlighted in the Overdrive exhibition and catalogue reveal the complex and often under-appreciated facets of Los Angeles and illustrate how the metropolis became an internationally recognized destination with a unique design vocabulary, canonical landmarks, and a coveted lifestyle. Clean copy. In publisher's shrinkwrap.

Hardcover. Boston, Lothrop Publishing Company, reprint, 1896, Book: Very Good, Dust Jacket: None, Hardcover, tan cloth stamped in gilt and dark brown. Four b&w plates not credited. This novel set in the late nineteenth century provides heartwarming tales of faith and love. Gossip, family failures, and errors in judgment threaten the lives of Ralph Bramlett and Estelle Douglass, but hope is found in the darkest of times. No date on title page, copyright page states 1896. Part of a uniform set so assumed a reprint. Name on front fly leaf, otherwise clean.

Hardcover. NY, PictureBox, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 226 pages. Color illustrations. Overspray is the conclusive account of the rise of airbrush art, and of the equally bright and glossy Los Angeles culture alongside which it came to prominence in the 1970s. Inspired by surf graphics, psychadelia and the slick shine of Hollywood, a generation of young artists began to make every lip and palm tree glisten, and every record cover shine. Fueled by a combination of intense demand, sleepless nights and brutal competition, the four men at the center of L.A.'s airbrush art market--Charles E. White III, Peter Palombi, Dave Willardson and Peter Lloyd-embarked on careers encompassing work for Playboy, Levi's, the Rolling Stones, Rod Stewart and major studio films including American Graffiti and Tron. Together, their work came to define the look of illustrative graphics for a generation of viewers. This book tells the story of these four artists for the first time through hundreds of images of the artists' best and best-known work, unseen production roughs, documentary photographs and other ephemera. Viewed now, their surreal, funny and utterly slick imagery seems all the more fantastic-combining technical precision with wild flights of imagination that bring to mind the work of some of today's top artists, from Takashi Murakami to Matthew Barney. Essay by Mike Salisbury, acclaimed designer of everything from Disney logos to Jurassic Park ad campaigns to Sassy magazine.

Hardcover. New York, Rizzoli, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, 275 pages, color illustrations throughout. In publisher's shrinkwrap. Owen Jones was, and still remains, a highly influential force in the world of architecture and design. His prolific and impressive work--captured here in its various stages through drawings, architectural plans, and photographs--is as current, imaginative, and important now as when it first emerged more than 125 years ago. Owen Jones: Design, Ornament, Architecture & Theory in an Age in Transition fills a serious gap in the history of Victorian design. In his early career Jones was recognized as an authority on Oriental design. In the 1850s he was commissioned to decorate the interior of Joseph Paxton's magnificent World's Fair Crystal Palace in London. Other signature projects include St. James' Hall, the Crystal Palace Bazaar, Osler's Glass Shop, and Eynsham Hall at Oxford. In 1856 he completed his monumental Grammar of Ornament, which remains one of the most influential works on design ever published and is a source for many artists and designers today. More than just an architect, Jones' skills were applied to designing interiors, books, textiles, furniture, and carpet. His philosophy can most accurately be expressed in his words, "Form without color is like a body without a soul."

Hardcover. New York, Rizzoli, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, 275 pages, color illustrations throughout. In publisher's shrinkwrap. Owen Jones was, and still remains, a highly influential force in the world of architecture and design. His prolific and impressive work--captured here in its various stages through drawings, architectural plans, and photographs--is as current, imaginative, and important now as when it first emerged more than 125 years ago. Owen Jones: Design, Ornament, Architecture & Theory in an Age in Transition fills a serious gap in the history of Victorian design. In his early career Jones was recognized as an authority on Oriental design. In the 1850s he was commissioned to decorate the interior of Joseph Paxton's magnificent World's Fair Crystal Palace in London. Other signature projects include St. James' Hall, the Crystal Palace Bazaar, Osler's Glass Shop, and Eynsham Hall at Oxford. In 1856 he completed his monumental Grammar of Ornament, which remains one of the most influential works on design ever published and is a source for many artists and designers today. More than just an architect, Jones' skills were applied to designing interiors, books, textiles, furniture, and carpet. His philosophy can most accurately be expressed in his words, "Form without color is like a body without a soul."

Paperback. New York, Welcome Books, 1st, 2008, Book: Very Good, Dust Jacket: None, 287 pages. Hardcover with no dust jacket. A very clean, unmarked copy with only minor edgewear. Holographic photograph on front cover. In 1984, photographer Peter Feldstein set out to photograph every single resident of his town, Oxford, Iowa (pop. 676). He converted an abandoned storefront on Main Street into a makeshift studio and posted fliers inviting people to stop by. At first they trickled in slowly, but in the end, nearly all of Oxford stood before Feldstein's lens. Twenty years later, Feldstein decided to do it again. Only this time he invited writer Stephen G. Bloom to join him, and together they went in search of the same Oxford residents Feldstein had originally shot two decades earlier. Some had moved. Most had stayed. Others had passed away. All were marked by the passage of time.

Hardcover. NY, Books of Wonder / HarperCollins Publishers, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 64 pages illustrated in color. Thirty favorite artists and writers celebrate one hundred years of Oz. Contributors include: Peter Glassman; Maurice Sendak; Janell Cannon; Tomie dePaola; Jerry Pinkney; Paul O. Zelinsky; Uri Shulevitz; Trina Schart Hyman; William Joyce; Richard Egielski; Diane Goode; Robin McKinley; Leo and Diane Dillon; Madeleine L'Engle; Mark Teague; Jules Feiffer; Ann M. Martin; Kinuko Y. Craft; Kay Chorao; Michael Foreman; Mark Beuhner; Natalie Babbitt; Peter Sis; Bruce Degen; Chris Van Allsburg; Michael Hague; Troy Howell; Richard Jesse Watson; Lloyd Alexander; Eric Carle. Clean copy.

Cambridge, MA, Harvard University Press,, 1st, 1967, Book: Very Good, Dust Jacket: Very Good, Hardcover in a lightly worn dust jacket, 402 pages. "Miss Lang focuses on the content of Pa Chin novels and short stories, which vividly describe the life of Chinese youth. She also pays great attention to the western, particularly Russian and French, influences on his political philosophy."

Hardcover. NY, Curt Valentin, 1st, 1948, Book: Very Good, Dust Jacket: Very Good, Hardcover in a lightly worn dust jacket. 150 pages, 67 illustrations (frontispiece in color). A greatly expanded version of the catalogue published the previous year for the exhibition of Picasso's lithographs from 1945-1947.

Hardcover. Germany, Hatje Cantz Publishers, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, 303 pages. Hardcover with dust jacket. Clean, unmarked copy with only minor wear to dust jacket. Color and Black and white pictures throughout. This catalogue raisonne of Picasso's lithographic work contains 855 pieces with entries for every printed sheet as an individual work, including test and state printings, and unpublished sheets. Scholarly essays from various contributors. Light fraying to bottom spine cover.

Hardcover. New York, Oxford University Press, 1st, 1999, Book: Near Fine, Dust Jacket: Near Fine, Hardcover, 242 pages. B&w and color prints. Lavishly illustrated catalog presenting a fascinating cultural history of an idyllic vision of California that still figures prominently in the American imagination. Red cloth, gilt lettering to spine. Pictorial dust jacket. Copy in mint condition, looks brand new.

Hardcover. US, Getty Publications, 1st, 2011, Book: Very Good, Dust Jacket: None, 352 pages. Hardcover with dust jacket. Clean, unmarked copy with only minor wear to dust jacket. Like new in publisher's shrink-wrap. Documents the burgeoning Southern Californian post-war art scene, with several essays following a more or less chronological order, and hundreds of illustrations of artworks, but also of art people (a wonderful 1963 photograph of Marcel Duchamp playing chess with a naked Eve Babitz in front of a replica of his Large Glass in Pasadena, photographs of artists working in their studios, etc). Some names are well known, others less so, but it is the versatility, the creativity and, above all, the richness and depth of this LA art scene that strike the reader-viewer through these richly illustrated pages. The birth of a genuine pop art in California (thanks to some of the most gifted artdealers in the US), of conceptual art, the creation of a new way of making sculpture, all those aspects are tackled in an informative and erudite (sometimes too erudite, though...)text that makes this book a more than valuable addition to the literature on post-war American art.

Hardcover. Ottawa CAN, Dovehouse Editions, reprint, 1996, Book: Very Good, Dust Jacket: None, Hardcover, green cloth stamped with gilt lettering on spine and decoration to front cover. 379 pages. Originally written in 1645 by the author who was also known as Lord Herbert of Chirbury. Herbert's major work is the De veritate, prout distinguitur a revelatione, a verisimili, a possibili, et a falso](On Truth, as It Is Distinguished from Revelation, the Probable, the Possible, and the False). He published it on the advice of Grotius. In the De veritate Herbert produced the first purely metaphysical treatise, written by an Englishman. Herbert's real claim to fame is as the father of English Deism. The common notions of religion are the famous five articles, which became the charter of the English deists. Name, light pencil notations to front endpaper and about a dozen pages.

Hardcover. NY, Thomas Y Crowell, 1st, 1974, Book: Very Good, Dust Jacket: Good, Hardcover in a lightly worn dust jacket, 193 pages including index, illustrated with 34 reproductions, some in color. George Caleb Bingham (1811-1879) who painted his world as it really was, everyday people in their everyday lives. His family was one of the early pioneer settlers, moving to the frontier in 1819. George began is art career painting tavern signs, later graduating to portraits, views of everyday life and "river paintings". He also was a Missouri politician, holding several important offices. Clean copy.

Hardcover. Baltimore Museum of Art/Pennsylvania State University Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 297 pages. 119 color illustrations and 10 b&w. With an essay by Thomas Primeau. Catalogue entries by Deborah Carton, Susan Dackerman, Richard S. Field, Katherine Crawford Luber, Elizabeth Mansfield, Walter S. Melion, Thomas Primeau and Robert Wheaton. An old master print with color is almost invariably regarded as a suspect object because the color is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. Painted Prints challenges this deeply entrenched assumption about the material and aesthetic structure of old master prints by showing that in many cases hand coloring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty, and meaning. Clean, bright copy. NOTE: Due to size and weight, DOMESTIC SHIPPING ONLY.

Hardcover. London, Seeley, Service & Co. Limited, Reprint, 1960, Book: Very Good, Dust Jacket: None, 250 pages. Hardcover. B/w illustrations throughout. Tope edge dyed. Original bookstore's price stamp on front flyleaf. Green cloth cover boards, gilt title on spine. Pages unmarked. Spine straight. "The handling of pigments in oil, tempera, watercolor & in mural painting, the preparation of grounds & canvas, & the prevention of discoloration, together with the theories of light & color applied to the making of pictures, all described in a practical & non-technical manner."

Hardcover. NY, Metropolitan Museum of Art , 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 272 pages. Painters of Reality, titled after an exhibition held in Milan more than fifty years ago, is the first study in English of this major aspect of Italian art. It builds on the work of the art historian Roberto Longhi. Reexamining the subject in light of copious subsequent scholarship, the authors of this volume contribute major essays that define and discuss naturalism as it appeared in both Lombard paintings and drawings. There is also a fresh consideration of the North Italian predecessors whose influence is apparent either directly or indirectly, in the paintings of Caravaggio. More detailed discussions of the subject center on the precise elements that constituted Leonardo's "hypernaturalism": the important schools of paintings that arose in Brescia, Bergamo, Cremona, and Milan; and Caravaggio's most notable successors in northern Italy, who kept Lombard realism alive into the eighteenth century.Among the 136 paintings and drawings, many never before seen outside of Italy, are influential drawings by Leonardo and major paintings by Caravaggio. Other acknowledged masters in the history of European art are represented, including Lorenzo Lotto, Giovanni Girolamo Savoldo, Giovanni Battista Moroni, and Giacomo Ceruti. Works also appear from significant but less widely known artists such as Sofonisba, Anguissola, Vincenzo Campi, Moretto da Brescia, and Fra' Galgario.

Hardcover. New York, Watson-Guptill, 1st, 1982, Book: Very Good, Dust Jacket: Very Good, Hardcover, 168 pages, 188 b&w illustrations, 83 plates in full color. Tan cloth with red titles, slight stain to front cover. Pictorial yellow dust jacket. Light wear to edges, minor sunning to back cover, else a very ice, tight, clean copy.

Hardcover. Princeton NJ, Princeton University Press, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, In Painting as an Art, which began as the 1984 Andrew Mellon Lectures at the National Gallery of Art in Washington, D.C., philosopher Richard Wollheim transcended the boundaries and habits of both philosophy and art history to produce a large, encompassing vision of viewing art. Wollheim had three great passions--philosophy, psychology, art--and his work attempted to unify them into a theory of the experience of art. He believed that unlocking the meaning of a painting involved retrieving, almost reenacting, the creative activity that produced it.In order to fully appreciate a work of art, Wollheim argued, critics must bring to the understanding of a work of art a much richer conception of human psychology than they have in the past: "Many [critics] . . . make do with a psychology that, if they tried to live their lives by it, would leave them at the end of an ordinary day without lovers, friends, or any insight into how this came about." Many reviewers have remarked on the insightfulness of the book's final chapter, in which Wollheim contended that certain paintings by Titian, Bellini, de Kooning, and others represent the painters' attempts to project fantasies about the human body onto the canvas. Light fading to dj spine. Name on front fly leaf, otherwise clean.

Hardcover. NY, Knopf, 1st, 2009, Hardcover, 384 pages. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns.

Softcover. Durham NC, Duke University Press, 1st, 2002, Book: Very Good, Dust Jacket: None, Softcover, 410 pages, b&w, color illustrations. INSCRIBED BY AUTHOR on the half-title page. Painting Culture tells the complex story of how, over the past three decades, the acrylic "dot" paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors. Since the early 1970s, Fred R. Myers has studied--often as a participant-observer--the Pintupi, one of several Aboriginal groups who paint the famous acrylic works. Describing their paintings and the complicated cultural issues they raise, Myers looks at how the paintings represent Aboriginal people and their culture and how their heritage is translated into exchangeable values. He tracks the way these paintings become high art as they move outward from indigenous communities through and among other social institutions--the world of dealers, museums, and critics.

Hardcover. Shambhala, 1st, 2019, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 174 pages, color plates. Little known during his lifetime, the Japanese biologist and artist Iwasaki Tsuneo (1917-2002) created a strikingly original and exquisitely intricate body of modern Buddhist artwork. His paintings depict themes ranging from classical Buddhist iconography to majestic views of our universe as revealed by science--all created with the use of painstakingly rendered miniature calligraphies of the Heart Sutra, one of the most important scriptures of Mahayana Buddhism. In this groundbreaking book, Paula Arai presents over fifty of Iwasaki's paintings, elucidating their Buddhist contexts and meanings as well as their intimate connections to Iwasaki's life as a war survivor, teacher, scientist, and devout Buddhist practitioner. Having been posthumously recognized by His Holiness the Dalai Lama, Iwasaki's paintings are sure to be regarded as an innovative and heartfelt contribution to the artistic legacy of twentieth-century Buddhism.

Hardcover. New Haven, CT, Yale University Press, 1st, 2015, Book: Very Good, Dust Jacket: None, 480 pages. Hardcover with no dust jacket. Very clean, unmarked copy still in shrink wrap. 378 color and 10 black & white illustrations. Tight copy. While European art forms were widely disseminated, copied, and adapted throughout Latin America, colonial painting is not a derivative extension of Europe. The ongoing debate over what to call it-mestizo, hybrid, creole, indo-hispanic, tequitqui-testifies to a fundamental yet unresolved question of identity. Comparing and contrasting the Viceroyalties of New Spain, with its center in modern-day Mexico, and Peru, the authors explore the very different ways the two regions responded to the influence of the Europeans and their art. A wide range of art and artists are considered, some for the first time.

Hardcover. New York, Clarkson N. Potter, Inc., 1st American Edition, 1991, Book: Very Good, Dust Jacket: None, 160 pages. Hardcover. Color and b/w illustrations throughout. Binding tight, spine straight. Decorated cover boards, red quarter cloth, white title on spine. Pages and edges clean and unmarked. In beautiful condition. Combines practical advice and fascinating narrative to teach the aspiring artist how to paint the nude.

Softcover. London, Quartet Encounters, 1st, 1991, Book: Very Good, Dust Jacket: None, 163 pages. Softcover. A very clean, unmarked copy with only minor edgewear.

Softcover. New York, American Art Association, 1st, 1978, Book: Very Good, Dust Jacket: None, Softcover. 150 pages. Reprint of 1926 auction catalog. Orange wrappers with black titles, perfect binding, profusely illustrated with b&w plates, foreword by Dana H. Carroll. Slight rubbing to covers; a very clean, tight copy.

Hardcover. Paris, Braun & Cie, 1st, 1946, Book: Very Good, Dust Jacket: None, Non-paginated. Introduction by Jaime Sabartes. 24 full color plates. Clean, tight copy.

Hardcover. Middletown, CT, Wesleyan University Press, 1st, 1976, Book: Very Good, Dust Jacket: Very Good, Hardcover, 180 pages. b&w illustrations throughout. Brings together for the first time all of Stock's extant papers-his will, one lengthy letter to his brother, various newspaper notices concerning him, and his remarkable journal written sometime after 1846. In addition, it includes reproductions of all known surviving Stock paintings. Green cloth, gilt lettering to spine. yellow pictorial dust jacket, minor wear to spine. Like new. A very nice, clean and tight copy.

Softcover. NY, Harry N Abrams, 1st, 1992, Book: Very Good, Dust Jacket: None, Softcover163 pages, illustrated throughout in color and b&w. Light edgewear to wrappers, with small crease to front cover. Clean, tight copy.

Hardcover. New York, Watson-Guptill Publications, 1st, 1973, Book: Very Good, Dust Jacket: Very Good, Hardcover, 152 pages, 64 color and 17 b&w illustrations. Clean, tight copy in a bright, unclipped dust jacket.

Hardcover. London, Jupiter Books, First Edition, 1978, Book: Very Good, Dust Jacket: Good, 31 pages text followed by 130 plates. Hardcover. Blue cloth boards with gilt titles to spine. Frontis photograph of the artist, L. S. Lowry, Stockport, Winter 1962. Full page, full color & bw plates throughout. Dust jacket with wear & toning to edges. Clean, unmarked copy.

Hardcover. NY, Knopf, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, pages. Vivid, passionate, primitive - 113 paintings by the poet Stan Rice. Here, his canvases explore the terrain of his poetry, as he captures the familiar and the mythical, the magical and the everyday. Here are legendary beasts, card players; images inspired by Greek myths, Bible stories, nursery rhymes. Some pay homage to objects - others to living things. They belong to no contemporary school. They are at once childlike, ironic, and darkly humorous - paintings that attest to the original vision of a talented poet and painter.

Hardcover. London, Cartago, 1st UK, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. Color and black & white photography by Nicholas Sapieha. By studying a period of nearly four centuries and examining houses over the entire region of Goa, this lavishly illustrated book, with architectural drawings, attempts to define the specific identity of Indo-Portuguese architecture. It is possible to observe, particularly during the 17th and 18th centuries, a progressive cross-influencing of Indian and Portuguese aesthetic tastes: the resulting mixture has produced a fascinating style of architecture, which this text has captured with more than 200 color photographs.

Hardcover. Boston, Houghton Mifflin Books for Children, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Clean, unmarked copy with only minor wear to dust jacket. In this playful story inspired by the impossible buildings of the artist M. C. Escher, Mauk's master is building a grand Palazzo. When something strange and wonderful happens, Mauk is catapulted into a topsy-turvy world. The author draws us into an astounding world where the reader turns Mauk on his head and sends him all the way back to his story's beginning in a dazzling endless loop.

Hardcover. NY, Thames & Hudson, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 255 color plates. Built for Federico II Gonzaga Duke of Mantua between 1525 and 1536, Palazzo Te is the masterpiece of Renaissance artist, designer, and architect Giulio Romano, the most accomplished and favored of Raphael's pupils.The palace's interiors are replete with frescoes depicting imaginative scenes and trompe l'oeil fantasies of gods and heroes, fictive marble statues, and portraits of the Duke's favorite thoroughbreds. From the erotic scenes of the Sala di Psiche to the famous Sala di Giganti, based on the mythological defeat of the Titans by the gods of Olympus, the High Renaissance ideal of classical harmony and balance is overtaken by breathtaking illusionist techniques and images of giants, falling masonry, and the thunderbolts from the gods.

Hardcover. NY, Guild Hall/NY Times, 1st, 1978, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. Great American artists of the 60's and 70's on the East End of LI giving up their secret recipes including photo of and artwork by them for Guild Hall of East Hampton. How about Lee Krasner's Hominy Puffs with Crabmeat, Robert Gwathmey's Egg Canape, Robert Dash's Hampton Greens, Greengages a la Warhol, Jack Lenor Larsen's Lemon Squares. the unforgettable Koo-Sauce by Willem de Kooning. 210 pages, art and photos in b&w, an unbelievable potpourri of American artists and their palate. Clean copy.

Softcover. London, Latin America Bureau, 1st, 1990, Book: Very Good, Softcover, 131 pages, illustrated throughout in b&w. How did Manuel Noriega, the CIA's most important agent in Central America, become the US administration's most wanted criminal? Why did 22,000 US troops invade Panama, to arrest a man who had been a staunch ally of the US? Was his involvement in the drug trade the real reason for General Noriega's downfall? Panama: Made in the USA explores the unanswered questions behind the invasion of December 1989 and looks at the turbulent history of US-Panamanian relations, in particular the bitter struggle for control of the Panama Canal. It analyzes the economic and geo-strategic importance of a country literally created by and for the US government. Looking at Panama since the invasion, the authors explore the challenge facing the US-installed Endara government as rebuilds a country shattered by invasion and US sanctions. Clean copy.

Hardcover. NY, Harper & Brothers, 1st, 1944, Book: Very Good, Dust Jacket: None, Hardcover, blue boards with color pictorial label on front cover. 36 pages with b&w sketches and drawings by Newberry. A charming story of the author's Persian cat and young son by a writer/artist who was very popular and loved cats. No dust jacket. bright. clean copy.

Hardcover. New York, Merrell Holberton, 1st, 2007, Book: Near Fine, Dust Jacket: Near Fine, 224 pages, illustrated in color and b&w. Still in publisher's shrinkwrap. Punk is most commonly associated with music, fashion and graphics, but its rebellious and iconoclastic spirit also found expression in the visual arts. Panic Attack! reveals the vibrant art scene that exploded in Britain and the United States between 1974 and 1984, when visual artists shared some of the radical attitudes and aesthetics of punk and post-punk musicians and designers.Featuring essays by both British and American commentators, a detailed chronology of the art and music scenes of the time and stunning reproductions of works by over thirty leading artists, Panic Attack! is an account of one of the most exciting periods in modern art.

Hardcover. Italy, Massimiliano Boni, 1st, 1974, Book: Very Good, Dust Jacket: Good, 128 pages, plus plates. ITALIAN TEXT. INSCRIBED. Color frontispiece, B/w illustrations/plates throughout. Dust jacket unclipped, has some age wear. Covers good, bound in blue fabric. Foxing on edges and endpapers, but pages clean. In very good condition.

Hardcover. NY, Hyperion, 2nd Ed., 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. Canemaker's second volume on Disney animation (his first was Before the Animation Begins, pub. 11/15/96) covers new territory. Focusing on the birth and progression of the storyboard method, the noted animator/historian explores both the history and the personalities of the Disney storyboard department. He takes readers from the early Disney days (when Walt created the storyboard to add depth and substance to the animated shorts the early studio produced) to today (when ever-changing teams of story specialists gather material and prepare sequence drawings before artists flesh out those Disney masterpieces). Along the way, Canemaker reveals the human effort required to bring an animated film to life and throws in juicy tidbits garnered from his interviews with animation pioneers. Lavish illustrations accompany the text. Recommended for larger public libraries and essential for collections in film and animation history.

Hardcover. NY, Hyperion, 2nd Ed., 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. Canemaker's second volume on Disney animation (his first was Before the Animation Begins, pub. 11/15/96) covers new territory. Focusing on the birth and progression of the storyboard method, the noted animator/historian explores both the history and the personalities of the Disney storyboard department. He takes readers from the early Disney days (when Walt created the storyboard to add depth and substance to the animated shorts the early studio produced) to today (when ever-changing teams of story specialists gather material and prepare sequence drawings before artists flesh out those Disney masterpieces). Along the way, Canemaker reveals the human effort required to bring an animated film to life and throws in juicy tidbits garnered from his interviews with animation pioneers. Lavish illustrations accompany the text. Recommended for larger public libraries and essential for collections in film and animation history.

Hardcover. NY, Disney Editions, 1st, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Featuring the art and artists used to plan and map out Disney's many classic animated films, a collection of "storyboard" images offers a fascinating retrospective of the company's history of animation, from Snow White to The Hunchback of Notre Dame.

Hardcover. NY, Prestel, 1st, 2018, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards. While sheets of paper are disappearing from our homes and offices, the medium is experiencing a renaissance in the worlds of art, design, and architecture. Suddenly, paper is everywhere--but not only in the old familiar places or forms. This fascinating book looks at every aspect of paper: its history, composition, production, application, and trade. Beginning with the anatomy of paper and its earliest forms, this book looks at paper as a symbol of political and economic importance and as a carrier of ideas, from literature to art, design, and music. It looks at the different surfaces, opacities, weights and volumes of paper and how it is used for printing, typography, graphics, and maps as well as a vehicle for origami, architecture, and fashion. Sumptuously illustrated with photographs and drawings, this book includes a variety of papers for readers to examine and feel, highlighting the sensual aspects of this seemingly ordinary product. Engaging, entertaining, and informative, this book contains a wealth of useful and surprising information on every printed, colored, and textured page

Hardcover. UK, Oxford University Press , 1st, 1968, Book: Very Good, Dust Jacket: Good, Hardcover, blue cloth with gilt lettering on spine, in a lightly worn rose-color dust jacket with fading to spine, 166 pages. Arthur Prior (1914-1969) undertook pioneering work in intensional logic at a time when modality and intensional concepts in general were under attack. He invented tense logic and was principal theoretician of the movement to apply modal syntax to the formalization of a wide variety of phenomena. Prior and Carew Meredith devised a version of the possible worlds semantics several years before Saul Kripke published his first paper on the topic. An iconoclast and a resourceful innovator, Prior inspired many to undertake work in intensional logic. It was the extra-symbolic world that mattered to Prior, not the formal results per se. Prior was the founding father of logic in New Zealand and also a driving force behind the renaissance in British logic from 1956. Name on front fly leaf, otherwise clean.

Softcover. UK, Oxford University Press, reprint, 2010, Book: Very Good, Dust Jacket: None, Softcover, 331 pages. This is a revised and expanded edition of a seminal work in the logic and philosophy of time, originally published in 1968. Arthur N. Prior (1914-1969) was the founding father of temporal logic, and his book offers an excellent introduction to the fundamental questions in the field. Several important papers have been added to the original selection, as well as a comprehensive bibliography of Prior's work and an illuminating interview with his widow, Mary Prior. In addition, the Polish logic which made Prior's writings difficult for many readers has been replaced by standard logical notation. This new edition will secure the classic status of the book. Clean, bright copy.

Hardcover. New York, Knopf, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, Hardcover, unpaginated, b&w cartoons throughout. Translated from the French by Helen Graves. From the New Yorker cartoonist, an evocation of New York life. Drawings and droll imaginary letters home from a visiting Frenchman. Bright, clean copy in a similar dust jacket.