Dick Morrill: A Part to Play in the Process, Published by Katharine T. Carter

Two Private Presses The Four Wind Press and the Stone House Press on Long Island by Joan Digby, Limited 1st Ed 1/200. Published by The Four Winds Press, New York, 1988. The story of ...

Painting and Decorating Craftsman's Manual and Textbook. 1st Ed hardcover. Published by Theo Audel & Co Publishers, 1949. With original fold out paint chart. A valuable resource for ...

A Continuing Tradition: Wm. Frank McCall, Jr., FAIA 1914-1991 by William R. Mitchell, Jr. 1st Ed hardcover with dust jacket. This book captures the elegance and style of the resident...

Mr. Dooley at His Best. Edited by Elmer Ellis at the University of Missouri. With a Foreword by Franklin P. Adams. New York: Charles Scribner's Sons, 1938. First edition, 1st printing, one of 520 copies with one page of the author's original manuscript. Frontispiece portrait. 291 pp. Buckram and decorated boards with a leather label. Finley Peter Dunne (1867- 1936) was an American humorist and writer from Chicago. In 1898 Dunne published Mr. Dooley in Peace and in War, a collection of his nationally syndicated Mr. Dooley sketches. Speaking with the thick verbiage and accent of an Irish immigrant from County Roscommon, the fictional Mr. Dooley expounded upon political and social issues of the day from his South Side Chicago Irish pub...

Art: Over 2500 Works from Cave to Contemporary by Nigel Ritchie Hardback Book. 2008.The definitive visual guide to over 2,500 paintings and sculptures from around the world, from pre...

The first comprehensive study on the work of visionary painter William Monk William Monk is a British-born, New York-based artist known for his enigmatic and vibrant paintings that ...

Remembering Jackie: A Life in Pictures Hardcover – January 1, 1994 by Life Magazine. Uses photographs to trace the life of the former first lady, including her childhood, marriage, ...

In their different mediums, Henry Moore (1898 1986) and Francis Bacon (1909 1992) created unforgettable images of the human figure. The distinctive visual languages that each artist developed over more than half a century were marked by a growing simplicity and monumentality of form. Their perspective differed: Moore clung to a belief in humanism, while Bacon espoused a post-humanist, nihilistic view of the world. In expressing their visions of humanity, the two artists had very different approaches: Bacon working from the outside in, disintegrating and dissolving form; Moore from the inside out, pushing anatomical structure to the surface. If Bacon s images suggest flux, chance, and the arbitrariness of existence, Moore s...