Never Again, Again, Again: Genocide by Lane Montgomery, Signed 1st Ed

Eleanor Lambert: Still Here, by John Tiffany. Publisher: Pointed Leaf Press, 2011. 1st Ed hardcover no dust jacket as issued. Often referred to as the Empress of Seventh Avenue, Miss Lambert, up to the time of her death at the age of 100, looked the part with her trademark turbans and oversized jewelry...

Colonial Furniture: The Superb Collection of the Late Howard Reifsnyder, including signed pieces by Philadelphia cabinetmakers, formerly contained i...

History of the Nineteenth Army Corps by Richard B. Irwin. Elliott's Book Shop Press, Baton Rouge, 1985. Reprint of the original 1892 Edition. 1st Ed thus hardcover with no dust jacket. The history of the famous 19th Corps, a unit in the Union Army famed for its successes and daring during the American Civil War. This edition includes the original battlefield maps. A series of daring victories swiftly established the special reputation of the 19th. At the height of their prowess, the company demonstrated great martial skill during the Siege of Port Hudson and in Shenandoah Valley. Notably, the 19th had a large contingent of black soldiers...

Exiles and Imigrés, the flight of European Artists from Hitler. New York: Harry N. Abrams, Inc., 1997. First Edition softcover. 432pp. A catalogue published in conjunction with a tra...

Holocaust Museum in Washington Hardcover – September 15, 1995 by Jeshajahu Weinberg, Rina Elieli Recounting the making of the United States Holocaus...

The Jews In America by David Cohen, hardcover coffee table book. Introduction by Chaim Potok. Photographic essay. From editor’s note: "To capture on film a cross section of the ...

MOCA: This Is Not To Be Looked At. This Is Not To Be Looked At: Highlights from the collection of the Museum of Contemporary Art, Los Angeles Hardcover – April 1, 2008 by Paul Schimm...

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...