Hardcover. New York, Random House, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, 548 pages. Hardcover with dust jacket. Black and white pictures throughout. Previous owner's bookplate on front end paper. Light soil to dust jacket.
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 This book follows Gleizes' argument as it evolves, drawing on painting, and both published and unpublished writings.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.
Hardcover. New Haven CONNECTICUT, Yale University Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 255 pages, illustrated with 103 color and 262 b&w plates. Still in publisher's shrinkwrap. Anne Vallayer-Coster (1744-1818) was one of the most talented still-life painters of the French school. Her exquisite paintings, today located in some of the world's finest museums, were admired and collected by many of her contemporaries, including Marie Antoinette, who became the artist's most important patron.
Softcover. Paris, Books & Co., 1st, 1999, Book: Very Good, Dust Jacket: None, Softcover, 169 pages. A volume on French Art Nouveau design, architecture and interior decoration. Features designs by Emile Galle, Alphonse Mucha, Paul Signac and others. Color illustrations throughout.
Hardcover. New York, The Vendome Press, Reprint, 1980, Book: Very Good, Dust Jacket: Very Good, 204 pages. Hardcover. Purple covers with gilt titles to black cloth spine, gilt vase design to cover. Full page, full color and bw illustrations throughout. Dust jacket with light marginal wear to edges. Clean & unmarked pages throughout. Glass from the turn of the 19th - 20th century; the "Belle Epoque" era. Features many glass artists, including Philippe-Joseph Brocard, Auguste Jean, Ernest-Baptiste Leveille, Emile Galle, Les Freres Daum, Henri Cros, Albert Dammouse, Francois Decorchemont, and several others.
Hardcover. Los Angeles, CA, Getty Research Institute, 1st, 2009, Book: Very Good, Dust Jacket: None, 416 pages. Hardcover with no dust jacket. Very clean, unmarked copy still in publishers shrink-wrap. Art of the Defeat provides an unflinching look at the art scene in France during the German occupation. Black and white photographs throughout.
Hardcover. Cambridge MA, The MIT Press, 1sr, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright gold foil dust wrapper, 476 pages. The artist Francis Picabia -- notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist -- has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade -- Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history -- and naming them -- for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage.Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings. Clean copy.
Hardcover. Paris, Les Belles Lettres , 1st, 1996, Book: Very Good, Dust Jacket: Very Good, 211 pages. Hardcover with dust jacket. A very clean, unmarked copy with only minor wear to dust jacket edges. A tight copy. Color illustrations throughout. FRENCH TEXT.
Hardcover. New York , Simon and Schuster, 1st, 1953, Book: Very Good, Dust Jacket: Very Good, 200 b&w cartoons. Preface by Philippe Halsman. In a bright, unclipped dust jacket.
Hardcover. New York, Pantheon Books, 1st US, 1988, Book: Very Good, Dust Jacket: Very Good, 127 pages, hardcover with dust jacket. Preface by Jean Leymarie. Translated from the French by Sebastian Wormell. Vivid recollections of life at La Cannet and descriptions of the house and garden, accompanied by reproductions of related drawings and paintings. With 130 illustrations, 77 in color. Including 14 photographs by Henri Cartier-Bresson. Previous owner's signature to front flyleaf. Light fading to dust jacket top edge and spine. Mild rubbing to dust jacket as well. A tight and clean copy.
Hardcover. New York, Harry N. Abrams, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover, 600 pages, illustrated throughout with 504 illustrations, including 242 plates in full color. Heavy oversized book. Light edgewear and faint tanning to dust jacket, else a clean, tight copy. A definitive survey of the life and work of the Paul Ce+a7zanne follwows the evolution of his art from drawing school in the 1860s to his death in 1906, providing more than six hundred reproductions of drawings, watercolors, paintings, and sketchbook pages that demonstrate his masterful artistic style.
Hardcover. New Haven, Yale University Press, 1st , 1991, Book: Very Good, Dust Jacket: Very Good, 269 pages. Hardcover with dust jacket. Transl. from German by John W. Gabriel. Black & white illus. Clean, tight copy.
Hardcover. Paris, France, Guy Delcourt Productions, 1st Edition, 1989, Book: Very Good, Dust Jacket: None, 48 pages. Hardcover. FRENCH TEXT. Color illustrations throughout. Decorated cover boards, glossy, very good. Pages and edges clean and unmarked. Binding tight, spine straight. In excellent condition. Coutoo is dead. But Coutoo lives again. Coutoo, the mad killer with the terrifying face, once again haunts the streets of New York. Like his father before him, Inspector Krafft goes up the bloody trail taken up by this monstrous psychopath.
Hardcover. New York, Hyperion Press, 1st, 1938, Book: Very Good, Dust Jacket: Very Good, Hardcover. Translated from French by Eveline Byam Shaw. Many b&w gravure plates, tipped-in color plates, 168 pgs. previous owner's inscription front fly leaf.
Hardcover. New York, George Braziller, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, 191 pages, 65 color plates. The only complete study of the artist's pastels. Like new in a bright dust jacket.
Hardcover. France, Editions du ChIne, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, 167 pages. Hardcover with dust jacket. A very clean, unmarked copy with only minor wear to dust jacket edges. A tight copy. Black & white and color photographs throughout.
Hardcover. New Haven, Yale University Press, 1st, March 1, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 245 pages, illustrated throughout. Clean, bright pages and tight binding. Pierre Puvis de Chavannes (1824-1898) was a towering figure in late nineteenth-century France. The country's greatest public painter, he created murals that decorated museums in Amiens, Rouen, and Lyons as well as major buildings in Paris-most notably the Pantheon, the Sorbonne, and the city hall. Critics from the political right, left, and center, the avant-garde, the Academy, and the state all agreed on the importance of Puvis's murals. Avant-garde artists greatly admired and drew from his work. There was much controversy, however, over the meaning of these murals. This handsomely illustrated book is the first full-length examination of Puvis's murals and their critical reception during the artist's lifetime. Jennifer L. Shaw explains that Puvis's paintings were imagined to embody a vision of France. Although his regional images, allegories of the French heritage, and evocations of the nation as an embracing motherland were all part of a grand tradition of public art, Puvis's painting style was more closely aligned with the avant-garde. Rather than providing a specific narrative or allegory of France, Puvis's murals provoked viewers to experience their own fantasies of Frenchness; rather than using the close brushwork favored by most of his contemporaries, Puvis used large flat areas of color to render his subjects. Shaw persuasively argues that Puvis was the only painter of the period to unite the traditions of public art and modernist form. Her original analysis of Puvis's art underlines his importance to the history of modernism; her examination of the public response to his art illuminates debates about art, subjectivity, and national identity in fin de siecle France.
Hardcover. Chicago, University of Chicago Library, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover, 144 pages. Like new in publisher's shrink-wrap. With 2014 marking the one-hundredth anniversary of the commencement of World War I, En Guerre offers a fresh, thought-provoking exploration of the impact of the Great War as viewed through the lens of French graphic illustration of the period. Published in conjunction with an exhibition of these illustrations at the University of Chicago Library's Special Collections Research Center, this catalog draws from illustrated books, magazines, and prints to present a wide range of perspectives on themes essential to a deeper understanding of the war in France: patriotism, nationalism, propaganda, and the soldier's experience, as well as the mobilization of the French national home front as seen through fashion, music, humor, and children's literature. With a text by noted historians Neil Harris and Teri J. Edelstein and featuring more than one hundred reproductions of the vivid and colorful work of French illustrators, En Guerre reaffirms the persuasive role that art can play in the service of political and military power.
Hardcover. NY, Simon & Schuster, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 512 pages. B&w illustrations. With this handsome book, David Sweetman, a biographer of Vincent van Gogh and Paul Gauguin, brings together the dissolute lives of various artists who came to represent decadent fin-de-siecle Paris: Oscar Wilde, Felix Feneon, Alfred Jarry, and, of course, Henri de Toulouse-Lautrec. As the author reminds us, imitations of the latter's work adorn the walls of French-themed bars worldwide and have become a shorthand for sanitized debauchery. Toulouse-Lautrec--absinthe drinker and brothel frequenter--was instrumental in the development of the poster, but what is his artistic legacy? Although Toulouse-Lautrec dominates the book's subtitle, Sweetman's sweep is much grander. In much the same way as his main subject was, Sweetman proves a sympathetic host to the women of Montmartre, tragic figures such as La Goulue, Jane Avril, and Suzanne Valadon, and he is particularly insightful on the singer Aristide Bruant's influence on the fledgling artist. Clean copy.
Hardcover. Boston , MFA Publications, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 223 pages, Like new in publisher's shrink-wrap. 145 illustrations. Both a historical overview and an up-to-the-minute spectacular, "Fashion Show" explores the ever-fascinating world of Paris couture-the history of the Paris fashion industry from its beginnings through the mid-twentieth century.
Hardcover. Paris, Editions Jafont, 1st, 1982, Book: Very Good, Dust Jacket: Very Good, Hardcover, French text. 185 pages, illustrated throughout in color and b&w. Grey cloth. Light shelf-wear to dust jacket. Overall, a tight clean copy.
Hardcover. New York, Pantheon, 1st, 1945, Book: Very Good, Dust Jacket: Very Good, Hardcover. Limited to 1,200. 137 plates, 80 pages of commentary & description, minor chipping to dust jacket .
Hardcover. London, Phaidon Press Limited, 1st Edition, 1967, Book: Very Good, Dust Jacket: Good, Text Volume - 450 pages. Hardcover. Blue cloth boards with gilt titles & gilt decorations to cover, spine. Frontis illustration, Parement Master and Workshop: Annunciation, Paris, in full color, tipped-in. Previous owner's signature to front flyleaf. Dust jacket with foxing, toning, now protected with plastic cover. Light foxing to edges. Otherwise very good, clean condition. Plate Volume - Hardcover, blue cloth boards with gilt titles & decorations. 845 plates, 12 full page, full color, tipped-in & beautifully presented. Dust jacket with light foxing, now protected with plastic cover. Light foxing to edges. Bright, clean copy.
Hardcover. NY, Hacker Art Books, reprint, 1973, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth covers with gilt lettering on spine. 98 pages of text followed by 90 b&w plates with captions on opposite page. Clean copy.
Hardcover. New York, Assouline Publishing, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, 124 pages. Hardcover with dust jacket. Like new in publishers shrink-wrap. A tight copy. 165 color illustrations. With rich and dynamic photographs juxtaposing concepts from haute couture and scientific advancements to pop stars and popular culture, French Style is as sophisticated and chic as the nation it celebrates. This lavishly illustrated, fun and informal yet surprisingly informative compendium brings to life the savoir faire and joie de vivre that is French Style.
Hardcover. New Haven CT, Yale University Press, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 282 pages, illustrated in b&w and color. Although Surrealism is usually associated with the 1920s and 1930s, it remained a vital force in Paris throughout the postwar period. This important book offers the first detailed account in English of the trajectory of the French Surrealists in the 1950s and 1960s, giving particular emphasis to the significance of myth for the group in its reception of science fiction and its engagement with fantastic art. Offering new readings of the art and writings of the later generation of Surrealists, Gavin Parkinson demonstrates how they were connected to the larger cultural and political debates of the time. Whereas earlier Surrealist art and writing drew on psychoanalytic practices, younger Surrealists engaged with contemporary issues, ideas, and themes of the period of the Cold War and Algerian War such as parapsychology, space travel, fantastic art, increasing consumerism in Europe, emerging avant-gardes such as Nouveau Realisme, and the rise of the whole genre of conspiracy theory, from Nazi occultism to flying saucers. Futures of Surrealism offers a unique perspective on this brave new world. Clean copy.
Softcover. US, Somogy Art Publishers , 1st, 2008, Book: Very Good, Dust Jacket: None, 320 pages. Softcover with little to no wear on edges. Still in publisher's shrinkwrap. Bringing the famed Parisian illustrator to light, this biography centers on Gabriel de Saint-Aubin, who studied at the prestigious Royal Academy but failed to win the coveted Prix de Rome. The study relates that the subject reacted to this disappointment by throwing aside all hopes of a traditional artistic career and hastening out into the thoroughfares of Paris to sketch everything in sight, living an errant, bohemian existence and succumbing increasingly to an obsession with drawing. Detailed and engaging, this recollection demonstrates that, despite his personal eccentricities, Saint-Aubin was employed as an artist all his life.
Hardcover. Monte-Carlo, Andre Sauret, 1st, 1967, Book: Good, Dust Jacket: Very Good, INSCRIBED BY AUTHOR. French text. 156 pages, b&w and color illustrations throughout. Slightly warped. Foxing to top edge. Light edge wear to dust jacket; in brodart. Else a clean, tight copy.
Hardcover. US, Rizzoli, 1st, 1988, Book: Very Good, Dust Jacket: Good, 319 pages, illustrated throughout with 235 illustrations, including 150 in full color. Faint soil to fore edge. Light edgewear and rubbing to dust jacket. Small tear on front end paper.
Hardcover. New York, Arcade Publishing, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 440 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to dust jacket. A pioneer of modern art and founder of Cubism, Georges Braque was a creative genius and tireless innovator, constantly pushing back the boundaries of the possible. In this magisterial work, Alex Danchev taps a wide range of new sources to reveal the heart and mind of one who helped usher in the greatest revolution in the ways of seeing since the Renaissance and changed the face of modern art. Chapters include: "Memories in anticipation:" The Confirmed Painter, "Mon vieux Wilbourg:" The Encounter with Picasso, "If I should Ide Out There:" The Great War, The prong of the rade" : Late Braque. And much more.
Hardcover. New York, Arcade Publishing, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 440 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to dust jacket. A pioneer of modern art and founder of Cubism, Georges Braque was a creative genius and tireless innovator, constantly pushing back the boundaries of the possible. In this magisterial work, Alex Danchev taps a wide range of new sources to reveal the heart and mind of one who helped usher in the greatest revolution in the ways of seeing since the Renaissance and changed the face of modern art. Chapters include: "Memories in anticipation:" The Confirmed Painter, "Mon vieux Wilbourg:" The Encounter with Picasso, "If I should Ide Out There:" The Great War, The prong of the rade" : Late Braque. And much more.
Hardcover. NY, Museum of Modern Art, 1st, 1949, Book: Very Good, Dust Jacket: Good, Hardcover in a bright, lightly chipped dust jacket. 170 pages, 135 illustrations with 10 in color. Bibliography. Bump to bottom of cloth cover otherwise a clean, square copy.
Hardcover. Washington DC, National Gallery of Art / Yale University Press, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. Publisher's full red cloth, gilt lettering on spine, gold endpapers. Profusely illustrated with numerous full-color plates (many full-page) as well as B&W illustrations. Published to coincide with the exhibition held at the National Gallery of Art, Washington, and the Kimbell Art Museum, Fort Worth, October 1996 to May 1997. Includes essays by Jean-Pierre Cuzin, Gail Feigenbaum, Patricia Behre Miskimin, Edmund P. Pillsbury, and Leonard J. Slatkes; and also technical essays by Claire Barry, Barbara Berrie, Melanie Gifford, and Michael Palmer. Also includes Bibliography and detailed Index. . Both the volume and the unclipped dust jacket are in pristine condition.
Hardcover. London, V&A Publications, 1st, 2007, Book: Very Good, Dust Jacket: Good, 224 pages. Hardcover with dust jacket. Soiling and wear to dust jacket edges. Light yellowing to inside pages. Small tears to dust jacket rear. An otherwise tight copy. 97 color plates, 80 black and white illustrations. In 1947, Christian Dior?s ?New Look? was greeted with both shock and delight, making headlines around the world. Accompanying the exhibition opening at the Victoria and Albert Museum in September 2007, this lavish book focuses on Parisian and British couture between 1947 and 1957, the decade Dior hailed as fashion?s ?golden age.? The ?New Look? symbolized a new femininity. The full skirts and hourglass silhouettes were considered highly decadent, synonymous with luxury and prosperity, in marked contrast to the austerity of the WWII years. Nevertheless, the ?New Look? caught the public imagination and ushered in a period of remarkable creativity. The Golden Age of Couture features stunning gowns and exquisite tailoring from Dior as well as from such designers as Balenciaga, Balmain, and Givenchy, along with evocative photographs by the likes of Richard Avedon and Cecil Beaton.
Hardcover. New York, Harry N. Abrams, Inc., 1st English, 1972, Book: Very Good, Dust Jacket: Very Good, 527 pages. Hardcover. Previous owners name and brief inscription on front endpaper. Illustrated with black & white photographs. Dust jacket with light wear. Clean, tight copy.
Hardcover. NY, Delano Greenidge Editions, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 396 pages, lavishly illustrated throughout in color and b&w. Light shelf-wear to dust jacket, else a clean, tight copy. Guimard is the pre-eminent architect of Art Nouveau in France. He influenced French architecture and design in the first half of the 20th century. He was also the architect of a number of Paris Metro entrances. He was regarded as an architect who wielded the greatest influence on the popular imagination in Paris during the late 19th- and early 20th centuries.
Hardcover. New York , Harry N. Abrams, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, 230 pages, published to accompany exhibition show in London, Paris, and Washington. Shows how Rousseau's captivating jungle paintings are best understood in relation to his work in other genres such as portraiture and landscapes. Beautiful color illustrations throughout. Deep green boards with lighter green tiger on front. In publisher's shrinkwrap.
Hardcover. New York , Abrams, 1st, 1962, Book: Very Good, Dust Jacket: Very Good, Hardcover, 210 illustrations, including 29 mounted color plates. 328 pages. Thick 4to, green cloth stamped in yellow. Dust jacket with light edgewear.
Hardcover. Baltimore, Johns Hopkins University Press, 1st US, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 394 pages, b&w illustrations. The adventures of Tintin and his dog, Snowy, have captivated people worldwide since they first appeared as an insert in the Belgian Catholic newspaper Le Vintieme Siecle in 1929. Available for the first time in English, this insightful biography delves deep into the psyche of Tintin creator Georges Remi and his public persona Herge. Author of the critically acclaimed Tintin and the World of Herge and the last person to interview Remi, Benoit Peeters tells the complete story behind Herge's origins and shows how and why the nom de plume grew into a larger-than-Remi personality as Tintin's popularity exploded. Drawing on interviews and using recently uncovered primary sources for the first time, Peeters reveals Remi as a neurotic man who sought to escape the troubles of his past by allowing Herge's identity to subsume his own. As Tintin adventured, Herge lived out a romanticized version of life for Remi.
Hardcover. Greenwich CT, New York Graphic Society, 1st, 1968, Book: Very Good, Dust Jacket: None, Limited to 1300 copies in English, this being #521. Two volumes in a slipcase with a label. Dark blue cloth covers, top edge gilt, spines with maroon and gilt design. Vol. 1: The Paintings, 446 pages with 208 b&w plates, 19 b&w text illustrations and tipped-in b&w photo of Daumier by Nadar as frontispiece. Vol. 2: The Watercolours and Drawings, 619 pages with 325 b&w plates(most with multiple images), 31 text illustrations, tipped-in errata slip. Previous owner's signature on front fly leaf of volume 1, otherwise clean, tight set. Slipcase is very good with some rubbing to blue cloth.
Hardcover. New York, G. P. Putnam's Sons, 1st, 1919, Book: Very Good, Dust Jacket: Very Good, Non-paginated. Hardcover. Illustrated primarily with black & white drawings (some color) by C. LeRoy Baldridge. Dust jacket with chipping, closed tears along edges - jacket now protected with clear plastic cover. Clean, tight copy.
Hardcover. NY, Penguin Press, 1st, 2019, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket., 310 pages, color and b&w illustrations. In Montparnasse begins on the eve of the First World War and ends with the 1936 unveiling of Dali's Lobster Telephone. As those extraordinary years unfolded, the Surrealists found ever more innovative ways of exploring the interior life, and asking new questions about how to define art. In Montparnasse recounts how this artistic revolution came to be amidst the salons and cafes of that vibrant neighborhood. Sue Roe is both an incisive art critic of these pieces and a beguiling biographer with a fingertip feel for this compelling world. Beginning with Duchamp, Roe then takes us through the rise of the Dada movement, the birth of Surrealist photography with Man Ray, the creation of key works by Ernst, Cocteau, and others, through the arrival of Dali. On canvas and in their readymades and other works these artists juxtaposed objects never before seen together to make the viewer marvel at the ordinary--and at the workings of the subconscious. We see both how this art came to be and how the artists of Montparnasse lived. Roe puts us with Gertrude Stein in her box seat at the opening of The Rite of Spring; with Duchamp as he installs his famous urinal; at a Cocteau theatrical with Picasso and Coco Chanel; with Breton at a session with Freud; and with Man Ray as he romances Kiki de Montparnasse.
Hardcover. UK, Cambridge University Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 334 pages. Spanning his renunciation of the Salon in 1834 until his large retrospective at the crucial 1855 Universal Exposition, this book examines the critical writing and journalistic reportage on Jean-Auguste-Dominque Ingres. It demonstrates how Ingres shaped his career in the rapidly evolving art world of mid-nineteenth century Paris. While enjoying the benefits of his affiliation with the Academy, the artist also pursued certain modes of presentation, most notably the single-artist exhibition and illustrated monograph, through which he distanced himself from the embattled world of artistic officialdom.
Hardcover. Paris, Maeght Editeur, 1st Ltd. Ed., 1977, Book: Very Good, Dust Jacket: Very Good, 217 pages, #647 of 5000, off-white cloth covers with black lettering on spine. Color and b&w illustrations including 5 original lithographic plates and lithographic wrap-around dust jacket. Dust jacket with minor edgewear, acetate wrapper chipped, worn.
Hardcover. NY, Harry N Abrams, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, 264 pages, illustrated throughout in b&w. Clean, unmarked copy with only minor wear to dust jacket. "A lavish, information-packed look at the people and places of an important, exciting era in art history. "?Publishers Weekly. From 1900 to 1930, Montparnasse was the center of artistic life for the whole world. A major contribution to the social and cultural history of the period? with its informative text and hundreds of photographs?. As The Washington Post said, Kiki's Paris "celebrates the people who made the modern movement in art, music and literature, most of whom were friends or lovers of Kiki, the woman Hemingway called 'The Queen of Montparnasse.'"
Softcover. Paris, Beaux Arts Magazine, 1st, 1994, Book: Very Good, Dust Jacket: None, 65 pages, illustrated throughout in color and b&w. Text in French. Light edgewear to wrappers, else a clean, tight copy.
Hardcover. Los Angeles, Calif., Harry N. Abrams, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover with a dust jacket. This copy is still shrink-wrapped in plastic. Many b&w and color illustrations throughout. Accompanied an exhibit at the Los Angeles County Museum of Art in 2001. Examines more than seventy-five paintings and other artworks, representing the Purist movement in twentieth-century modernist art, featuring the works of Le Corbusier, AmTdTe Ozenfant, and Fernand LTger as well as a complete translation of the classic work AprFs le cubisme.
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