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1932ref. 535New York, Whitney Museum of American Art., 1932.l. 4°. 21 b/w plates. 17 p. text; (= American Artists Series). Original cloth boards. Spine slightly cracked and with an handwritten number, labels and stamps of a library on lining and title page. 1 plate stamped, 1 plate with a small crack, else fine condition.
1996ref. 2015363Paris, Philippe Lebaud 1996. 232 (4) Seiten, mit zahlreichen Abbildungen auf Tafeln, 4° (27,5 x 19 cm), Hardcover, gebunden, Orig.-Leineneinband mit Originalumschlag.
1965ref. EEZZ9564Wien, Wolfrum (1965). 4°. 209 (3) S. Mit 100 mont. farb. Taf. OLn., farb. illustr. Orig.-Leinen (nach einem Entwurf von Josef Hoffmann, Orig.-Klarsichtumschlag, in Edelschuber mit mont. Farbtitel. Sehr gut erhalten.
1999ref. 81488New York, The Metropolitan Museum of Art 1999. Mit zahlr. tlw. farb. Abbildungen. 174 S. 4to. OLwd. mit OU.
2006ref. BN207529Indiana University Press 2006. 2006. Hardcover. Painting Indiana II: The Changing Face of Agriculture Painting Indiana II: The Changing Face of Agriculture William Borden; Gary R. Truitt; Kathleen Stubbe Truitt Hrsg.; Indiana Plein Air Painters Association Center for Agricultural Science & Heritage Autoren Indiana University Press hardcover
1960ref. 236661960. Cedric Dover's survey of African American visual art from early portraiture through the postwar period published in 1960 while the work of Black artists remained marginal within standard American art histories. Dover connects artistic production to slavery emancipation migration industrial labor the Harlem Renaissance federal arts programs and the growth of Black cultural institutions. Reproductions of works by Aaron Douglas Charles White Richmond Barthé Jacob Lawrence William H. Johnson Hale Woodruff Selma Burke and others establish a lineage across painting sculpture drawing printmaking and mural art. Dover Cedric. American Negro Art. New York: New York Graphic Society 1960. First edition. 186 pages. 8vo. Hardcover in original brown cloth with silver spine lettering extensively illustrated in black and white and color no dust jacket. The volume opens with Charles White's 1958 ink drawing based on the spiritual "One of a series of ink drawings based on the spirituals" and includes Aaron Douglas's The Negro Looks Ahead Richmond Barthé's sculpted head Hubert Howard's Show Girl Jacob Lawrence's Ambulance Call and a color reproduction of Aaron Douglas's A Harlem Matron. Dover's text addresses the circumstances under which Black artists studied exhibited and found patronage with sections including "Mulattoes and Atelier Art" "For Aaron Douglas" and "The Artists." One illustrated spread reproduces Charles White's mural sketch for the Harlem Hospital beside Douglas's The Continuation of Life while another places a photograph of industrial workers beside Hale Woodruff's printmaking and William H. Johnson's Aunt Alice. Dover an Anglo Indian writer and scholar who published extensively on race anthropology and modern art presents African American art as a continuous field shaped by both formal experimentation and the political conditions governing Black life. His discussion of Harlem Renaissance circles historically Black colleges museum access commercial galleries and federal patronage records the institutional structures through which artists built careers despite segregation and restricted exhibition opportunities. The book's period terminology including its title and chapter language records the vocabulary through which African American art was categorized by publishers and scholars at midcentury. Light shelf wear to binding; permanent marker block on title page else clean and firmly bound. Overall very good condition. A substantial midcentury attempt to place African American artists within the history of American modernism through named works institutions movements and individual careers. unknown
ref. BN612412Bruxelles colonie d'artistes. Peintres Hollandais 1840-1890: Een Schilderskolonie in Brussel 1840-1890 Jan 01 1990 Bruxelles colonie d'artistes. Peintres Hollandais 1840-1890: Een Schilderskolonie in Brussel 1840-1890 Jan 01 1990 Bruxelles colonie d'artistes. Peintres Hollandais 1840-1890: Een Schilderskolonie in Brussel 1840-1890 Jan 01 1990 unknown
1935ref. 225401935. Velázquez Chávez Agustín. Ãndice de la Pintura Mexicana Contemporánea / Index of Contemporary Mexican Painting. Mexico: Ediciones Arte Mexicano 1935. First edition. Quarto 11 x 8 in. 225 pages. Parallel text in Spanish and English. Illustrated with tipped-in color and monochrome lithographs reproducing works by leading Mexican painters of the early 20th century printed on heavy cream stock. Original printed wrappers with woodcut vignette edges untrimmed. A landmark early survey of modern Mexican painting issued during the post-revolutionary renaissance in which visual arts were central to constructing a national cultural identity. Compiled and written by art historian Agustín Velázquez Chávez the work is notable as one of the first bilingual scholarly overviews of contemporary Mexican painters intended for both domestic and international audiences. Profiles include critical commentary biographical sketches and bibliographic citations paired with fine lithographic reproductions. Among the featured artists is Julio Castellanos represented by Cirugía Surgery 1935 a lithograph depicting a hooded woman gently opening the eyelid of a seated figure-an allegorical rendering of care and revelation. Velázquez Chávez highlights Castellanos's "personal charm" and "directness of outlook" and recounts his role in the Panamerican Art Exhibition in Baltimore 1931. Roberto Montenegro is illustrated with Perfiles Mayas Maya Profiles 1935 showing stylized heads in profile against a temple backdrop. Critic Hermilo Abreu Gómez is quoted as saying Montenegro's art "is attempting constantly to transform his means of expression. improving within the possibilities of a well-poised artistic consciousness."The volume also includes Carlos Orozco Romero with a Portrait 1935 characterized by simplified form and cool tonal control and José Guadalupe Posada the celebrated printmaker whose satirical calaveras and engravings were embraced by muralists such as Diego Rivera. Velázquez Chávez places Posada at the origin of a distinctly Mexican pictorial identity describing him as "a man of the people. possessing from first to last a knowledge of the social and political conflicts of his day." Published just as Mexico's muralist movement reached global prominence through figures like Diego Rivera Orozco Posada and Siqueiros this index captured the breadth of contemporary work beyond the monumental frescoes documenting artists engaged with portraiture easel painting and printmaking. As the first title in the projected "Mexican Art Editions" series it set a template for scholarly documentation of Mexican visual culture. Moderate toning and scattered foxing to wrappers minor chipping at spine ends text block clean and well-preserved; very good. unknown
1852ref. 172611852. Scott Walter. The Poetical Works 1852 collected edition presenting the poetry of one of the central figures of nineteenth century British literature whose work shaped historical romance national identity and literary culture in Britain and the United States. Scott's poetry widely read throughout the nineteenth century contributed to transatlantic literary exchange and remained a staple of education and private libraries. This volume reflects the continued circulation and reception of his work within Victorian reading culture where literary texts were often issued in decorative formats intended for display and gifting. Scott Walter. The Poetical Works. London: John Kendrick 1852. Compact volume bound in red morocco with gilt edges featuring a concealed fore edge painting revealed when the pages are fanned depicting Yale College from New Haven Green. This form of decoration in which an image is applied to the fanned edges and remains hidden when closed exemplifies nineteenth century bookbinding craftsmanship and the integration of visual art into literary objects. The text gathers Scott's poetic output into a single edition intended for both reading and presentation. Produced within the Victorian tradition of elaborately bound gift books this volume situates Scott's poetry within a culture that valued both literary content and decorative artistry. The inclusion of a fore edge painting of Yale College underscores the transatlantic reception of Scott's work and its association with American educational institutions and readers. Contemporary ownership signature dated November 4 1862 on the front free endpaper. Light wear with minor joint separation; overall very good. A well preserved example of nineteenth century literary publishing enhanced by decorative book arts. unknown
ref. 0253348196.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
2006ref. 001228Bloomington In: Quarry Books 2006. Book. VG. Cloth. Signed by Authors. First Edition. 4to - over 9¾" - 12" tall. Brown cloth with blue quarter cloth to the spine with gilted tiles to the spine. SIGNED by two contributors Carol Strock -Wasson and Mary Ann Davis to the half title page. Neat gift inscription on that page as well. Green end pages. This copy is VG in a VG unclipped $39.95 DJ. Exterior is pristine as is the inside. No noticeable blemishes. DJ is clean and bright with a small crease near top /front edge and a touch of rubbing on the back. Looks and feels unread. Quarry Books Hardcover
1993ref. 141881993. Hockney David. That's the Way I See It 1993 a visual and narrative account of the artistic development of one of the most influential figures in late twentieth century British and international art. David Hockney emerged in the 1960s as a central artist associated with British Pop Art and later became internationally recognized for his paintings photographic experiments stage designs and explorations of perspective and visual perception. This book presents Hockney's own reflections on his artistic practice and intellectual influences offering commentary on the evolution of his work across multiple media and decades of artistic production. Hockney David. That's the Way I See It. London: Chronicle 1993. First edition. Inscribed by the author on the front endpaper "For Mimi Bernie" and signed "David Hockney." The volume functions as Hockney's visual autobiography combining the artist's commentary with a large body of reproduced work spanning painting drawing graphic design and experimental visual projects. The book contains approximately 350 reproductions of Hockney's artworks and design projects integrated with a personal narrative in which the artist discusses his creative process influences and technical experimentation. Hockney's work helped redefine contemporary figurative painting and visual culture in the late twentieth century particularly through his vivid depictions of California life explorations of photography and collage and investigations into spatial representation and perspective. His writing in this volume offers direct insight into the ideas guiding these experiments and the broader artistic environment in which his work developed. Signed copies of Hockney's major retrospective publications provide documentary evidence of the artist's engagement with the public presentation of his career and artistic philosophy. Light handling wear; dust jacket clean and intact. Overall very good condition. unknown
2010ref. 164892010. Hirst Damien Damien Hirst: No Love Lost 2010 documents Hirst's return to painting through the Blue Skull and flower works exhibited at the Wallace Collection supporting research into contemporary British art Young British Artists mortality imagery and exhibition culture after the 1990s YBA breakthrough. Hirst first gained public attention through the 1988 exhibition Freeze and won the Turner Prize in 1995. Hirst Damien. Damien Hirst: No Love Lost. London: Other Criteria 2010. Signed. First edition. 1 volume. 66 leaves. 30 color reproductions of Hirst's paintings and 3 gatefolds. Original color printed boards. Quarto. Published after Hirst's No Love Lost: Blue Paintings exhibition at the Wallace Collection London which opened in October 2009 and presented twenty-five new paintings in dialogue with the museum's historic interiors. The volume includes an interview between Hirst and British painter John Hoyland. The catalogue places Hirst's skull flower and death imagery within a painterly rather than installation-based format extending central themes of his career into works made for a historically charged museum setting. The Wallace Collection exhibition was discussed at the time as a visible shift toward solitary painting after Hirst's large-scale serial production. Condition not stated in the supplied description. Signed first edition documenting a focused painting exhibition by a leading figure of contemporary British art. unknown
1908ref. 158371908. Rackham Arthur illustrated edition of William Shakespeare's A Midsummer Night's Dream 1908 marks a major Edwardian interpretation of Shakespearean fantasy through the work of one of the defining British illustrators of the gift-book era. Rackham's treatment of Shakespeare's woodland comedy belongs to the cultural sphere of early twentieth-century illustrated literature where fairy imagery theatrical imagination and decorative book design transformed canonical texts into visually immersive editions for adult and juvenile audiences alike. The volume supports research into Shakespeare reception British illustration fairy iconography and the commercial culture of deluxe illustrated books before the First World War. Rackham Arthur illustrator. Shakespeare William. A Midsummer Night's Dream. London: William Heinemann; New York: Doubleday Page & Co. 1908. First Rackham edition. Quarto. Latimore & Haskell p. 32; Riall p. 87. Single volume with color frontispiece and 39 color plates mounted on tan paper each with captioned tissue guard together with black-and-white drawings in the text by Rackham. Original tan cloth boards with gilt titles to spine and gilt title and vignette to front cover. The illustrations emphasize the play's enchanted forest world with Rackham's characteristic attenuated figures grotesque fairies delicate linework and subdued color palette shaping the visual identity of Shakespeare's dream logic metamorphosis and nocturnal mischief. Published during the height of Rackham's prominence as a book illustrator this edition helped fix A Midsummer Night's Dream within the visual language of Edwardian fantasy connecting Shakespeare's stage tradition to the era's taste for fairy painting Arts and Crafts book design and collectible illustrated quartos. Spine ends and tips lightly nicked; binding sound and plates present as described; overall very good. A strong first Rackham edition of Shakespeare's fairy comedy valuable for collections centered on illustrated books Shakespeare reception and British fantasy art. unknown
1885ref. 143011885. Iran Art Qajar School Lovers in Embrace gouache painting on paper nineteenth century represents the courtly aesthetic erotic refinement and dynastic visual language that defined Persian painting under Qajar rule. The composition situates a princely male figure and his adorned companion in intimate embrace reinforcing themes of aristocratic leisure romanticized sovereignty and elite identity in Qajar Iran. The work supports research in Persian court painting gender representation in Islamic art Qajar costume and regalia and nineteenth century Iranian material culture. Persian Qajar gouache on paper with gold illuminated border. Depicts a young prince wearing blue and gold coat and karakul headgear embracing female companion adorned with tiara and pearls. Floral and animal illuminated margins including deer and monkeys. Image size 18.5 x 11 inches. The prince's distinctive headgear confirms Qajar rather than Zand period attribution aligning the work with the heightened stylization and opulent textile rendering characteristic of nineteenth century Tehran ateliers. Comparable compositions appear in Qajar painting traditions associated with artists such as Mohammad Sadiq whose courtly embrace scenes similarly emphasize costume detail glassware and staged intimacy as markers of refinement. The illuminated border populated by floral and animal motifs situates the lovers within a cosmological and decorative framework typical of Qajar manuscript aesthetics adapted to single-sheet painting. Minor browning to margins and discreet restoration to verso margins not affecting image. Very good. A refined example of Qajar visual culture centered on dynastic elegance and performative intimacy. unknown
2009ref. 168042009. Hirst Damien. Nothing Matters 2009 publication documenting a major body of work exhibited at White Cube's London galleries presenting large scale triptych paintings and new directions in Hirst's studio practice. Issued during a period when Hirst remained a central figure in contemporary British art following the Young British Artists movement the volume records his continued engagement with themes of mortality repetition and visual spectacle. The work contributes to research on contemporary exhibition practice artist authored catalogues and the evolution of Hirst's painting after earlier conceptual and installation based works. Hirst Damien. Nothing Matters. London: White Cube 2009. Signed "Damien Hirst." First edition. Hardcover exhibition catalogue produced in conjunction with Hirst's dual exhibition at White Cube Mason's Yard and Hoxton Square in November 2009. The volume features numerous large scale reproductions including tri fold gatefold plates presenting color triptychs as well as the first published reproductions of Hirst's oil paintings executed on newspaper. The catalogue documents both the scale and material experimentation of the exhibited works. Published in the context of a major London exhibition this volume reflects the continued prominence of gallery based publication in disseminating contemporary art and shaping critical reception. Hirst's work often centered on themes of death and commodification remained influential within global art markets and institutional exhibitions in the early twenty first century. The inclusion of gatefold triptychs and newly reproduced works situates this catalogue within the documentation of a specific phase in his artistic production. Clean and well preserved; overall near fine. A signed example of a contemporary exhibition catalogue documenting a major British artist's work. unknown
ref. GOR008717987Hardback. Very Good. hardcover
2013ref. DADAX0253008522Quarry Books 2013-06-26. Illustrated. hardcover. New. 10.09x11.79x1.06. Buy with confidence. Excellent Customer Service & Return policy. Quarry Books hardcover
1913ref. 368143New York: Association of American Painters and Sculptors 1913. Matted and framed. 21 x 21 inches. Some yellowing to postcards one spot to formal invitation otherwise near fine. Matted and framed. 21 x 21 inches. Rare set of ephemera from the International Exhibition of Modern Art better known as The Armory Show of 1913 including: - Stationary from the organizers of the show: The American Painters and Sculptors New York with Arthur B. Davies Gutzon Borglum Walt Kuhn Elmer L. MacRae listed on the masthead - Invitation to the Formal Opening of the International Exhibition of Modern Art at the Lexington Avenue Armory on February 17 1913 - Invitation to the Press Preview of the International Exhibition of Modern Art on February 16 1913 "Please present this card." - Two lapel buttons using the image of the uprooted pine tree traken from the Massachusetts Revolutionary War era battle flag with the text "The New Spirit" created by Walter Kuhn - Postcard advertising the exhibition with the flag with uprooted tree - Postcard Battleships 1913 by Elmer L. MacRae treasurer of the Association of American Painters and Sculptors. Association of American Painters and Sculptors unknown
ref. A9781343683839Hardback. New. hardcover
1617ref. B6037Cruger c. 1617. Engravings mounted on watermarked laid paper. Some tears to lower margins not affecting the plates. Staining on one plate. A very good attractive and rare set. Binding: Loose folio in an 18th century wrapper. Notes: c. 1617; exception: one leaf dated 1561 and signed by Antonio Salamanca in Rome. Size: Folio sheets of 405x555m Illustration: Folio set of 14 leaves of copper engravings. References confirm 14 including the tile. Illustrated allegorical title with the Medici arms flanked by female personifications of Justice at left and Faith at right; lettered with a dedication to Cosimo II of Tuscany by Jacobus Chitus with bottom right Teodoro Cruger sculp: 1617 altered in ink to 1618 Florentiae and at lower left five privileges: Cum Privil. S. Pontif S.C. Maiest. Repi. Venet. // M.D. Etrur. Reip Genuens et V.R.Neap. - p. x An.; frontis after self-portrait by Andra Del Sarto; twelve engravings depicting the story of Saint John the Baptist after paintings / frescos and later curtains by Andrea del Sarto at Florence and Franciabigio. References: Hollstein German 6 176 35; Hollstein 33; Le Blanc 1854-1890 2 72 7-20; Virtuelles Kupferstichkabinett 6382 and 6384 mention 14 plates. Pages: Ff: Title; Self-Portrait; 12 engravings. Category: Book Europe Italy; Book Religious Christianity; Book Plate Books General; Cruger unknown
2022ref. __3039420313Scheidegger & Spies 2022. Paperback. New. 256 pages. 11.75x8.75x0.75 inches. Scheidegger & Spies paperback
1996ref. 76065Musee Matisse Nice 1996. Großformatige französischsprachige Paperbackausgabe 140 Seiten mit zahlreichen Abbildungen. Mit seperater Beschreibung und einem entnehmbaren Dia. Gutes Exemplar bon état. Musee Matisse, Nice paperback
1943ref. 239731943. World War II military nose art photo archive circa 1940s documenting the names pin up figures cartoons and painted emblems through which American servicemen personalized aircraft during and immediately after the global conflict. Nose art occupied an unofficial visual culture alongside standardized military insignia allowing crews to attach humor sexuality regional identity private jokes and individual names to mass produced machines assigned by the armed forces. The practice became so widespread during World War II that pin ups cartoons and popular culture imagery applied to aircraft became commonly identified as "nose art" while surviving institutional collections preserve comparable photographs because the painted designs themselves were vulnerable to repainting damage reassignment and postwar disposal. Photo archive of 18 silver gelatin photographs measuring from 1.75 x 3 to 4 x 5 inches circa 1940s. The photographs concentrate on painted fuselage decorations and names on American military aircraft particularly heavy bombers such as the B-29 and B-24 with designs including glamorous women reclining pin ups cartoon figures lettering and comic imagery. Identifiable aircraft include "Supine Sue" subtitled "The international figure" with a reclining woman painted beside the cockpit; "The Arabian Lady" with a veiled or draped female figure; "The Dragon Lady" represented by a large female figure in a cloak; "Tail Wind" accompanied by a pin up; and "The Lady is a Tramp." Other views record "Forbidden Fruit" additional female figures painted at large scale on aircraft skins humorous character designs and servicemen posed beside decorated aircraft. Several photographs move closer to the painted surfaces preserving rivets mission markings lettering and the relationship between the illustrations and the industrial aluminum skin beneath them. One image records comparable decoration on a ship rather than an aircraft extending the group beyond aviation to the broader wartime practice of personalizing military equipment. Versos carry scattered numbers and handwritten identifications including one inscription reading "Charles Polutsky just before taking off from Alamogordo New Mexico to Gulfport Miss." while another photograph is dated "11/10/45." American servicemen had personalized aircraft before World War II but the scale of wartime mobilization made the practice especially visible across U.S. Army Air Forces units. Smithsonian collections preserve wartime photographs of named aircraft and nose art from the Pacific China Burma India and other theaters while the National Museum of the United States Air Force identifies pin up girls cartoons and contemporary popular imagery as characteristic forms of World War II aircraft decoration. Artists could be ground crewmen or servicemen with professional artistic experience: Army Air Forces photographer Robert Serotkin for example painted aircraft while serving during the war and Corporal Tony Starcer became known for painting the Memphis Belle and other aircraft of the 91st Bomb Group. The photographs preserve the intersection of standardized military machinery with an unofficial servicemen's culture that transformed individual aircraft into named and illustrated objects carrying the humor erotic imagery references and identities of their crews. Light to moderate handling wear occasional creasing edge wear tonal variation and scattered surface marks; several prints with handwritten or stamped verso markings. Overall in good condition. A concentrated photographic record of the vernacular art through which American servicemen personalized wartime aircraft and military equipment. unknown
1910ref. 135101910. Hassam Childe. Autograph letter signed discussing the exhibition and valuation of the painting The Laurel. Dated March 14 1910 the letter documents Childe Hassam's management of one of his important canvases during a period when American Impressionism was gaining national recognition through exhibitions and international expositions. Hassam a leading figure in the American Impressionist movement and a painter known for luminous landscapes and urban scenes writes about maintaining records of works circulating in exhibitions and stresses the importance of recovering the painting known as The Laurel or The Laurel on the Ledge. In the letter he states "You can understand that I have to keep a record of my things that are out" before noting the value of the work and emphasizing its significance within his body of paintings. Hassam Childe. Autograph letter signed. New York March 14 1910. One page written on Hassam's personal stationery and signed "Childe Hassam." The text concerns the circulation and pricing of the painting The Laurel which Hassam describes as "an important canvas." He writes that "The price of the 'Laurel' is 3000 and when I get it back here it will be 3500" and instructs that the painting may be shown in connection with the St. Louis exposition before being returned to him. Hassam adds that the painting has "been lost in the West long enough" emphasizing his intention to regain control of the work after its exhibition. Childe Hassam emerged in the late nineteenth and early twentieth centuries as one of the principal American painters associated with Impressionism producing landscapes coastal scenes and city views that translated European Impressionist techniques into an American context. His career began in Boston as an illustrator and watercolorist before he studied painting more formally and later worked in New York where he became an influential participant in the American art market and exhibition circuit. Letters concerning the movement and valuation of specific paintings provide insight into how American artists of the period managed exhibitions pricing and the circulation of works through regional and national art venues. Light wear consistent with age and handling. Overall condition very good. unknown
