art Monograph

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. 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. 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, 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. 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. 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.

Softcover. Edinburgh, Mainstream Publishing, 1st, 1989, Book: Very Good, Dust Jacket: None, Softcover, 218 pages, illustrated throughout in b&w. Light wear to wrappers, else a clean, tight copy.

Softcover. Seattle WA, Frye Art Museum, 1st, 2002, Book: Very Good, Dust Jacket: None, Softcover, 108 pages in color. Catalogue of an exhibition held at Frye Art Museum, Seattle, WA, 2002. Firm binding, clean inside copy. *** A major exhibition devoted to the American painter William Beckman, one of the leading exponents of the Realist "school." A figurative artist, he leans heavily upon classical tradition. The nude portraits can be sometimes jarring. Less well-known are his scenes of rural America, with farms and silos. *** "William Beckman (b. 1942) paints himself, loved ones, and the land he has lived upon, creating edgy portraits and landscapes. His subjects, whether mother or lover, are delivered to the viewer with gripping details, without embelishment. He creates his figurative art using a unique method. He applies paint, then shaves of layer after layer from the surface with a razor, repainting and polishing the canvas to create lustrous, absorbing images. His realism is stripped of sentiment, his idealized portraits scrupulously rendered, and his expansive tracts of Minnesota farmland theatrically scaled. Each painting is epic in significance and matter-of-fact at the same ime. This is the first book that offers a comprehensive view of Beckman's art and career.

Hardcover. Steidl, 1st, 2012, Book: Very Good, Dust Jacket: None, Three volumes sharing the following format: Hardcover. Fine cloth-covered boards with tipped-in four-color plate on cover; no dust jacket as issued. The three volumes are contained in a custom foil-embossed slipcase. Photographs by William Eggleston. Text by Thomas Weski. 588 pp., with 250 four-color plates. 12-1/2 x 12-1/2 inches. Between 1965 and 1974 William Eggleston and Walter Hopps traveled together in the US, Eggleston taking photographs, Hopps driving. During these travels the title Los Alamos was born. The negatives for what became known as the Los Alamos Project were made between 1965 and 1974, and were archived in two boxes labeled Box #17 and Box #83. The latter was lost for several years. The project is presented in its entirety in this three-volume set for the first time. An earlier edition of "Los Alamos" edited by Thomas Weski was published by Scalo in 2003. Weski"s original essay is included in this revised edition. "Los Alamos Revisited" has been drawn from the complete set of photographs, including the long lost negatives from Box #83. NOTE: DOMESTIC SHIPPING ONLY.

Hardcover. NY, Abbeville Press, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 279 pages. William Glackens was one of the most influential American painters in the first decades of the twentieth century. From his beginnings as a witty magazine artist-illustrator in Philadelphia and New York to his participation in the forward-thinking group of artists dubbed The Eight, Glackens was a perceptive interpreter of his surroundings. Glackens, one of the most versatile and popular artists of his time, assimilated the lighthearted modern French themes of spirited cafes and bustling parks and resorts in such canvases as Chez Mouquin (1905) and Sledding, Central Park (1912). An admirer of the more traditional figure painting of the Impressionist Renoir, his name also became closely linked to the modern artists who exhibited their works at the famous Armory Show of 1913, which Glackens helped organize. This important study, the first major monograph on Glackens, includes an insightful essay by Dr. William Gerdts and a complete catalog, introduced by curator Jorge Santis, describing the incomparable holdings of the Glackens Collection of the Museum of Art, Fort Lauderdale, Florida. With a chronology, bibliography, and index, this profusely illustrated volume is sure to become the standard reference on Glackens for historians and collectors of twentieth-century art. Clean,bright copy.

Hardcover. NY, Harry N. Abrams, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 143 pages. 44 color, 59 bw plates. One of a series focusing on America's foremost artists from the colonial era to the present, this volume covers the work of American Impressionist, William Merritt Chase (1849-1916). Chase worked mainly in oil, but he also used watercolour and pastel, and produced prints. Includes bibliiographical references and index. Clean copy.

Hardcover. New York, NY, Watson-Guptil Publications, 1st, 1979, Book: Very Good, Dust Jacket: Very Good, Hardcover, 88 pages with 32 full-page color plates. Includes chronology, bibliography, and index. Biography illustrated in black and white followed by full color plates on right side with author's descriptions on left. Painting on dust jacket. Overall a clean, tight, copy, dust jacket shows slight bit of wear around edges.

Hardcover. Boston, New York Graphic Society, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover, 328 pages, profusely illustrated in color and b&w. A study of Morris's life through his own words and work. Contains extracts from his letters, poems, etc. Lavishly illustrated throughout with over 200 color plates. Many of the illustrations have never been reproduced before

Softcover. Washington, D.C., Corcoran Gallery of Art, 1st, 1962, Book: Very Good, Dust Jacket: None, Biography of American Painter William Ranney with catalog of his works and 53 b&w as well as 2 color reproductions. Softcover with flaps. Some wear along the spine and markings on back cover, overall in very good condition.

Softcover. Philadelphia, Pa. , Pennsylvania Academy of the Fine Arts, 1st, 1982, Book: Very Good, Dust Jacket: None, Exhibition catalog. 211 pages, illustrated throughout in color and b&w. Pictorial gray stiff wrappers. Light wear and rubbing to edges and spine, lower front corner dog-eared, else a very nice, tight copy.

Softcover. Stony Brook, N.Y., Museums at Stony Brook, 1st, 1983, Book: Good, Dust Jacket: None, Softcover, 96 pages, illustrated throughout in color and b&w. Some wear and sun-fade to spine and covers, else a clean, tight copy.

Hardcover. NY, Abrams, 1st, 2016, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 175 pages in color. William Wegman's postcard paintings reflect a lifetime of engagement with narrative, perspective, art history, architecture, popular culture, humor, and philosophy in art. Starting with one or more vintage postcards, Wegman constructs scenes that range from intimate interiors to cosmic vistas, filling audaciously complex spaces with intriguing incident. Collected together, the paintings possess the universal, encyclopedic, and mysterious qualities of their source materials. In addition to Martin Filler's introduction, a stellar group of contributors responds to the work.

Hardcover. New York, Praeger, 1st, 1959, Book: Very Good, Dust Jacket: Good, Hardcover. 116 pages. Illustrated in full color and black & white. Small chunks missing at top edge of spine and right corner of dust jacket. Clean, tight copy.

Hardcover. Richmond, VI, Westover Publishing Co, unknown, 1973, Book: Very Good, Dust Jacket: Very Good, Hardcover, 296 pages, numerous b&w illustrations and 70 plates in full color. Yellow cloth, gilt lettering to spine and front cover. White pictorial dust jacket, black titles, with minor wear to borders and small closed tear to spine. Overall a nice, tight, clean copy.

Hardcover. Washington DC/New Haven CT, National Gallery of Art/Yale University Press, 1st, 1986, Book: Very Good, Dust Jacket: Very Good, 259 pages, hardcover with dust jacket. First major survey of Homer's watercolor career, part of a celebration of the 150th anniversary of Winslow Homer's birth. Mild rubbing to dust jacket. Color and black-and-white illustrations throughout. Unmarked. Bright and clean. A tight copy.

Paperback. San Francisco CA, The Fine Arts Museums of San Francisco, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, 283 pages, paperback. The first in-depth examination by a museum of this artist's career as a painter of war. Mild soiling to front and rear wraps. Slight bumping and rubbing to wraps. Many color and black-and-white illustrations throughout. Unmarked. A bright and tight copy.

Hardcover. US, Ameringer Yohe Fine Art, 1st, 2003, Book: Very Good, Dust Jacket: None, 32 pages, illustrated throughout in color. Light shelf-wear to heavy cardboard covers, else a clean, tight copy.