HALL PatriciaABAA
204 résultats
199830766Gretna: Pelican Publishing Company. Fine in Fine dust jacket. 1998. Hardcover. 0882899082 . Color and black and white illustrations throughout. Second printing. Fine in a fine dust jacket. . Pelican Publishing Company hardcover books
19729271New York: Colorcraft Inc. 1972. First Printing. Near Fine. Minimal wear else bright and clean. 25x39". Photographic image. <br/><br/>"This propaganda poster was issued by artists and writers united in protest against U.S. government policies under President Richard M. Nixon who was elected in 1968. In 1972 Nixon ran for re-election defeating the Democrat George McGovern. The Nixon campaign slogan was "Four More Years." This poster subverts the slogan asking instead whether Americans really wanted four more years of Nixon presidency. Printed over Ron L. Haeberle's well-known and disturbing image of the My Lai massacre in Vietnam the message creates a stark association between controversial American foreign policy and savage brutality. The image supplies its own answer to the leading question implying that four more years under Nixon's administration could lead to further violence and subjugation. Later in 1972 Nixon's Watergate scandal emerged eventually forcing the President to resign." V&A description A very handsome copy of a remarkably strong piece of political commentary/protest. Colorcraft, Inc. unknown books
19705833Boston 1970. 1st edition. Softcover. VG. Brown wraps. 68 pp staple bound. Appx. 62 bw plates. Lists and describes the work of appx. 62 artist members including Harry R. Ballinger Margaret Fitzhugh Browne Alden and Mary Bryan Jack Callahan Otis Cook Lee Winslow Court William Franklin Draper and many others. Includes an example of each of their works. Very informative. unknown books
19292182German Artists' Association. <b>Ausstellung Des Deutschen Künstlerbundes Köln 1929 Exhibition of the German Artists' Association Cologne 1929 </b>Köln Cologne: Verlag Der Ausstellungsleitung 1929. <br /><br />16 mo 7 x 5 inches; 175 x 125 mm 124 pages in original wrappers.<br /><br />Scarce catalogue of an exhibition of German contemporary art held in Cologne from May to September 1929. Profusely illustrated with more than 70 black-and-white plates featuring paintings and sculptures. Artists included: Willi Baumeister Max Beckmann Arno Breker Max Ernst Lyonel Feininger George Grosz Erich Heckel Wassily Kandinsky Ernst Ludwig Kirchner Paul Klee Gerhard Marcks Otto Mueller E.W. Nay Emil Orlik Max Pechstein Christian Rohlfs Oskar Schlemmer Karl Schmidt-Rotluff Max Slevogt and many others.<br /><br />After the Nazis came to power in 1933 many of these artists were designated "degenerate" and some had to flee Germany. The catalogue features 15 pages of advertisements many of them from art galleries that were expropriated and "Araynized" by the Nazis just a few years later. <br /><br />OCLC shows more than 20 institutional holdings of this catalogue but it's very scarce in commerce. An important documentation of the German contemporary art scene just a few years before the Nazis came to power. <b>SCARCE</b>. <br /><br /> CONDITION: Soiling to white wrappers a couple preliminary pages and outer page edges nicks to top and bottom of spine hint of water staining to lower page corners. About Very Good. Verlag Der Ausstellungsleitung paperback books
19961324432Washington: Cultural Exchange Foundation 1996. Softcover. Octavo; G; Paperback; Spine brown without print; DJ has edgewear mild shelfwear; Cover is brown with black print slight bump to bottom corner else clean and bright; Text block separating from cover at top of spine title page becoming detached else clean and tight; Text in Hungarian and English; Title on DJ also in Hebrew; Exhibition catalog; 122 pages illustrated b&w. 1324432. FP New Rockville Stock. Cultural Exchange Foundation unknown books
184229653Paris: Marchant 1842. Two volumes bound in one. Quarto. Full gilt-ruled dark green morocco with raised bands on spine in blindstamped compartments titling gilt inner dentelles gilt dark green endpapers with doublure pattern.<br/><br/>Each volume consists of 3 preliminary leaves plus 40 full-page plates and 162 pp. of text for a total of 80 fine lithographic portraits of dancers singers and actors in role portraits finely-printed on china paper and laid down to mounts.<br/><br/>With biographical essays on each subject including:<br/><br/>Dancers Perrot Elssler Taglioni Thillon Leroux and Grisi<br/><br/>Singers Deburau Duprez Fargueil Aine Levasseur Rubini Persiani Prevost Damoreau Lafont Lablache Grisi Tamburini Klein singer and actor Stolz Thillon Chollet Roger Mario and Dorus-Gras<br/><br/>Actors Rachel M. Melingue Plessy Mme. Melingue Achard Doze Odry Lepeintre Jeune Dupont Boutin Flore Georges Joanny Albert Vertpre Monrose Bocage Firmin Saint-Ernest Mars Menjaud Sauvage Bardou Beauvallet Alcide-Tousez Mme. Volnys Ferville Mr. Volnys Guillemin Gauthier Arnal Clarisse Chilly Moessard Brunet Albert Provost Brohan Anais Vernet Desmousseaux Dorval Regnier Mante Julienne Lepeintre Aine Dejazet Numa Samson Sainville Ligier Colon Leplus Raucourt Bouffe and Lemaitre <br/><br/>The biographical articles are each 4 or 6 pages in length; the lithographs are quite finely-drawn. A third volume was planned and at least 18 plates appeared but the volume was never completed.<br/><br/>Binding slightly worn rubbed and bumped. Minor wear; some foxing to mounts heavier to some leaves; some leaves slightly loose including title to Book I; some signatures loose; some browning to Book II. Most plates to Book I with tissue guards. <br/><br/>The illustrative plates are in very good condition overall. A significant contribution to the iconography of the period offering important evidence of contemporary performers and theatrical costume. Marchant unknown books
1939WRCLIT80821London: Hodder and Stoughton 1939. 255pp. Small quarto. Cloth printed in red. Frontispiece portrait. Color and black and white plates. Front inner hinge neatly mended spine sunned ownership signature in ink on front free endsheet smudge on first contents page sunning to edges and spine else a good reading copy without dust jacket. First edition ordinary issue. Prefatory letter by the Queen on Buckingham Palace stationary in facsimile. With contributions by fifty British authors and artists in aid of The Lord Mayor of London's Fund for the Red Cross and the Order of St. John of Jerusalem. Contributing authors include Masefield Walpole Eliot Ambler Milne du Maurier de la Mare Heyer et al. Artists include Beaton Dulac Whistler Novello et al. Hodder and Stoughton hardcover books
200124529NY: Harcourt. Fine in Fine dust jacket. 2001. Hardcover. 0151005567 . Black and white photographs. Translated from the German by Ewald Osers and Alexandra Dring. First American printing. Fine in a fine dust jacket. . Harcourt hardcover books
1953183125Westport: The Course 1953. Hardcover. VG- overall fading and scuffing to boards of binders. Page have light toning along edges but are otherwise very clean and clear. Three oversized cloth three ring binders containing all 10 volumes. The first is red cloth boards with gilt lettering containing the table of contents page for all lessons The Handbook and Lesson One. The second volume is yellow cloth boards with gilt lettering containing Lessons 2 through 5. The third volume is blue cloth boards with gilt lettering containing Lessons 6 through 10. A handbook of ten lessons; Lesson 1 Oil Painting. Lesson 2 Water color painting and other mediums. Lesson 3 Form still life and perspective. Lesson 4 Composition and pictorial design. Lesson 5 Landscape painting. Lesson 6 Human form. Lesson 7 Portrait painting. Lesson 8 the figure in action. Lesson 9 figure composition. Lesson 10 Anatomy. The Course hardcover books
191936216Paris 1919. Paperback. Very Good. photos 27 1p. 20 plates on 10 leaves Softcover in original wrapper. 26cm. A few corners dog-eared. French text. <br/><br/> paperback books
1951175737Spain: Santander 1951. Softcover. Good tanning to edges light foxing to upper block edges. Beige wraps with red illustration on front brown illustration on rear blue illustration and yellow lettering on spine 239 pp bw and color illustrations. Second Art Week in Santillana del Mar: September 20-26 1950. Text in Spanish. Contents include: From a new sacred art / Alberto Sartoris - Art criticism and its problems / Rafael Santos Torroella - The genesis of artistic creation / Luis Felipe Vivanco - Perspectives of contemporary art / Willi Baumeister - Conversations. [Santander] paperback books
1989WN48173New York: E.P. Dutton 1989. Original gray cloth blind stamped with silver spine lettering. Dent in boards and scrape at top of foreedge are the only defects. Dust jacket closed tears at spine ends and crumpling on edges; overall wear. Erratum slip laid in. A well produced and beautifully illustrated work; many full page full color plates. First Edition. Cloth. Very Good/Good. Illus. by Author. Folio - over 12" - 15" tall. Trade. E.P. Dutton Hardcover books
15504234<p>Rome: Antonio Lafreri 1550. </p><p>Price: $3750.00 </p><p>Single sheet engraving. 400 x 288 mm. plate; 431 x 318 mm. sheet </p><p>First state. With Lafreri's excudit: "Ant. LafrerI FormIs Romae MDL" at lower right. Watermark "Crossbow with arrow in a circle" similar to Briquet 759. A very good impression with light surface wear and light marginal soiling. Three early stamps on the verso two of them from the Kupferstichkabinet Berlin Lugt 1606 the second of which identifies the print as a duplicate Lugt 2482. The third stamp Lugt 1672 is that of the collector Wilhelm von Lepel.</p><p>An iconic image of the statue known as Pasquino by far the most famous of Rome's statue parlanti talking statues. The statue was discovered in 1501 in the Parione district of Rome. Cardinal Oliviero Carafa "the embodiment of humanist ideals centering on the revival of antiquity"Reynolds erected the statue next to his palace near Piazza Navona on the site of today's Palazzo Braschi where it stands to this day. As early as 1501 satirical poems in Latin and Italian variously celebrating or criticizing the pope clergy and nobility or lampooning private individuals were affixed to the statue. By 1508 the statue had become the focus of a yearly celebration held on St. Mark's Day during which the statue was dressed as a Roman deity or other mythological figure and anonymous writers attached to it poems written in the "voice" of the statue. In 1511 Pasquino was dressed as Grief mourning the death of Cardinal Carafa. In 1549 the year before this print was published Pasquino famously opined on the death of Pope Paul III: 'Here was buried a certain Paul/ a fraud a fox thief murderer;/ Here famous in the mouth of Pasquino/ There suffering in the mouth of the devil."<br /><br />The artist responsible for this print has included a number of pasquinades in Latin and Italian shown on bits of paper attached to the walls of Carafa's palace. The ground in front of the statue is strewn with props a reference to the costumes worn by Pasquino during the St. Mark's Day celebration. In the distance are two pairs of men the first standing in the piazza and the second strolling towards the statue. Carafa's arms are visible in the shadow on the statue's base.<br /><br />Lafreri's print is a close copy of one published in 1542 by Antonio Salamanca Lafreri's rival and eventual business partner. The identity of the artist is unknown. Among those to whom the plate has been attributed are Enea Vico and Nicolas Beatrizet.<br /><br />The sculpture comprises two figures believed to be either Menelaus cradling the dead Patroclus or Ajax holding the dead Achilles.<br /><br />The primary inscription is a sonetto caudato.<br /><br />Io non son come paio un Babbuino <br />stroppiato senza piedi et senza mani <br />Nemen con glialtri membri sconci et strani <br />La simmia son di Niccolo Zoppino. <br />Ma son quel famosissimo Pasquino <br />Che tremar faccio i Signor piu soprani<br />et stupir forastieri et Paesani<br />quando compango in volgare o in Latino.<br />La mia persona è fatta in tal maniera <br />Per i colpi e hor questo hor quel in accocca <br />Per ch'io dico i lor falli a buona cera. <br />Ma infin ch'io ha l'usata lingua in bocca <br />Non ne fo stima anchor che 'l resto pera <br />et sempre cantaro Zara a chi tocca <br />Che se la gente sciocca <br />Non si vuol rimaner de i falli suoi <br />Chi terrà me' che no 'l ridica poi.<br /><br />I am not as I seem a Babbuino<br />crippled without hands or feet <br />Nor with obscene and strange exotic parts <br />am I the Ape of Nicolò Zoppino<br />But I am that most famous Pasquino <br />who makes the most prominent men shiver. <br />and astonishes the out-of-towners and my fellow citizens<br />when I compose in vernacular or in Latin.<br />My persona was shaped in this way: <br />by the blows I take from here and from there <br />because I reveal their sins<br />But as long as I have the use of the tongue in my mouth<br />I do not care even if the rest of my body perishes <br />and I will continue to sing whatever happens <br />and the people who are offended must deal with it. <br />Because if stupid people do not want to keep their sins to themselves<br />Who is going to stop me from telling them<br /><br />The one that was sure to attract the most attention reads:<br /><br />Pasquin tu fuste et sarai semper un pazo<br />Ti sai in ogni forma trasformate<br />Se ti voi alle donne grato fare<br />Per che non ti trasformi int' Vn Ca<br /><br />Pasquino you always were and always will be an idiot.<br />You know how to transform yourself into any form<br />If you want to please women<br />Why don't you turn yourself into a dck<br /><br />Pasquino: Witness to a Rivalry Prelude to a Partnership:<br /><br />The engraving of Rome's talking statue published in 1550 bears witness to the rivalry between the two leading Roman print publishers of the mid-16th c. Antonio Salamanca 1479-1562 and Antonio Lafreri 1512-1577 and to the vast publishing phenomenon that came to be known as the "Speculum Romanae Magnificentiae" The Mirror of Roman Magnificence". <br /><br />In the years following the sack of 1527 the Spanish emigree Antonio Salamanca began producing engravings of Roman subjects with regularity prior to the sack such prints were few and appeared sporadically. In the 1540s another emigree printer the Frenchman Antonio Lafreri Antoine Lafréry began a rival enterprise copying many of Salamanca's engravings. The Pasquino an image that Lafreri lifted from Salamanca dates to this period.<br /><br />In 1553 the two competing Roman publishers entered into a contractual alliance for twelve years "with the explicit purpose of printing and selling copperplate prints of ancient and modern subjects… When the contractual agreement between Salamanca and Lafreri was established in 1553 the underlying principle of the "Speculum" was in place: it was to be a corpus of documentary prints of ancient and modern Roman subjects mainly in folio."Parshall<br /><br />Lafreri's and Salamanca's engravings illustrating the ancient and modern marvels of Rome tombs temples palaces baths statuary obelisks columns inscriptions frescoes etc. were purchased by tourists as souvenirs studied by antiquarians used as models by artists and architects and circulated as virtual visits for armchair travelers beyond Rome. By the late 1570s collectors could also purchase an engraved title page while selecting prints for their own Speculum collections. As a result Lafreri's customers or those of his heirs Salamanca had died in 1562 and Parshall suggests that the title was only in use after Lafreri's death in 1577 collected images to suit their own needs or taste. After the death of Lafreri two-thirds of the existing copper plates went to his heirs and another third was sold to other publishers. These new owners continued to print the existing images while still producing new prints.<br /><br />"Print collecting in the Renaissance is not very well understood mainly because prints were numerous comparatively inexpensive and therefore rarely inventoried. They are less likely than other sorts of objects to come down to us with a clear indication of their original setting. Nevertheless the evidence of a few large collections from the sixteenth century does suggest some consistent patterns most notably that prints accumulated in substantial numbers tended to be compiled in albums where they were organized by subject- matter and scale…. There is still much to learn about how such collecting practices evolved and the development of a market to serve them."Parshall "Antonio Lafreri's Speculum Romanae Magnificentiae" Print Quarterly March 2006 Vol. 23 No. 1 pp. 3-28.</p><p>References: Lafreri-Index Z.249. Marigliani "Lo Splendore di Roma nell'Arte incisoria del Cinquecento" Edizioni Tipografia Marina 2016 V.56; Rubach "Ant. Lafreri Formis Romae: Der Verleger Antonio Lafreri und seine Druckgraphickproduktion" 2016 no. 337; Hülsen Speculum 1921 Nr. 71a; Alberti L'Indice di Antonio Lafreri no. 84.</p> Antonio Lafreri, books
59090New York: Harper 1898 as individually described below each signed and labeled in pencil below the image. Chicago 1890s. Original pencil drawings. 1 "The American Black Scoter / Ademia americana" an original pencil drawing 11 3/4 x 15 1/2 inches of two American Scoters a male and a female swimming on the water's surface but with one webbed foot clearly visible below with hills in the background; signed in pencil by the artist below the image "Drawn from Nature by D.G. Elliot F.R.S.E. &c." and labeled as the title. 2 "Canvas-Back Duck" an original pencil drawing 11 1/2 x 15 1/4 inches of two American Scoters a male and a female the male standing on a marsh the female swimming on the water's surface with a small flock of canvasbacks flying the background; signed in pencil by the artist below the image "Drawn from Nature by D.G. Elliot F.R.S.E. &c." and labeled as the title. 3 "Hooded Merganser / Lophodytes cucullatus" an original pencil drawing 11 1/2 x 15 1/2 inches of two Hooded Mergansers a male and a female swimming on the water's surface but with one webbed foot of each clearly visible below with wooded islands in the background; signed in pencil by the artist below the image "Drawn from Nature by D.G. Elliot." and labeled as the title. A similar lot of Elliot's drawings for "Wild Fowl" sold at auction in 1988 for $2000 ABPC 1976-2011. Very good. Matted some darkening or soiling around the edges. #6098. Elliot a native of New York City travelled through Europe the Near East and South America as a young man studying the birds of those areas "a subject in which he had always been interested. An artist of no mean attainments his ambitions led him to the publication of large folios like those of John Gould monographing various families of birds with lifesize illustrations from his own brush . these included birds of paradise pheasants and thrushes horn bills and other species. His own collection of birds consisting of some one thousand specimens and covering most of the described species in North America was the best private collection extant and was secured by the American Museum of Natural History in 1869" DAB. He was one of the founders of the American Ornithologists' Union and its second president 1890; he accepted a position at the Field Museum in Chicago in the early 1890s directing that institution for ten years ending his career working on the natural history of mammals. <br/><br/> unknown books
1993255025London: Elizabeth Harvey-Lee 1993. Soft Cover. Very Good binding. Back cover mildly soiled; binding sound; no markings in text. Very Good binding. Elizabeth Harvey-Lee unknown books
19101222New York: University of the State of New York 1910 Part 1 and 1914 Part 2. First Edition. Hardcover. Near Fine. No DJ as Issued. Joint of Part 2 starting light shelf/edge wear else tight bright and unmarred. Green cloth boards gilt lettering and decorative elements. 4to. 501pp/719pp plus approx 150 np pp in Part 1. Illus. color and b/w plates. <br/><br/>Illustrated with full page color plates from drawings by Louis Agassiz Fuertes. A massive work and significant reference on the ornithology of New York with distribution information maps and county tables. This set does not include the separate portfolio of plates sometimes reported. A very handsome set. University of the State of New York hardcover books
199835855Princeton:: Princeton University Press. Fine in Fine dust jacket. 1998. Hardcover. 0691015627 . A later printing. Fine in a fine dust jacket. . Princeton University Press, hardcover books
200423510Detroit: Detroit Artists Workshop 2004. First Edition. Wraps. Near fine. 8vo. Saddle-stapled wraps. Near fine. 24pp. <br/><br/>Event program issued on the occasion of the Detroit Artists Workshop's 40th anniversary reunion and celebration. Photographs by Leni Sinclair cover logo by Gary Grimshaw program book layout design by Brita V. Brookes. [Detroit Artists Workshop] paperback books
1858243246Madrid / Paris: Miguel Campo-Redondo / Lamourex 1858. 384p. texts printed on reasonably alkaline stock the complete magazine-year bound in original 11x7 inch black-papered boards and a quarter-calf dark-green spine titled and ruled gilt. All edges tinted aqua-green. El Correo marketed household wisdom exclusively in the Spanish language madly illustrated with selling-point fashion illustrations unwise fashion be it known: "waist not want not" the message. The case-binding is handleable with legible gilt still-holding hinges original endsheets unmarked except by foxing & small stains and a square textblock but is very edgeworn with cracked corner-tips and a page of text half-torn away. However ugly the book-qua-book all 23 hand-colored fullpage fashion prints are not only beautiful but exceptionally so that is the hand-tinting of them: we have seen perhaps a hundred casebound collections and the 23 in this exemplar are amongst the very best in terms of specialized colorwork called for commonly colors too vivid; sloppily outlined; areas left blank; perfect plates followed by the over- or under-done. ALL of the 23 are sensitive and successful though you will find a few flecks and a few small stain-spots; FYI one plate at p.336 is a doublespread left untinted its overlap edgeworn has bad staining but you won't throw it away. Not only dresses but faces limbs children animals background landscapes foreground flowers and carpets are flawlessy touched up. In addition to these main-attraction plates there are numerous monochrome plates lace patterns and such plus one knockout chromo-lithographed pattern at p.12 bound-in upside down. Complete copy with all faults and virtues. We have admired these engraved and frequently hand-tinted fashion fantasies throughout our career most often encountered in British and American magazines Godey's Ladies Book being the most widely distributed. As here with El Correo Godey's and its worthy competitors used French artists engravers and watercolorists. These century-old mags were almost common in the late sixties while seventies & eighties saw near-extinction especially of the expertly-tinted. Miguel Campo-Redondo / Lamourex unknown books
1859243247Madrid / Paris: Miguel Campo-Redondo / Lamourex 1859. 384p. texts printed on reasonably alkaline stock the complete magazine-year bound in original 11x7 inch black-papered boards and a quarter-calf dark-green spine titled and ruled gilt. All edges tinted aqua-green. El Correo marketed household wisdom exclusively in the Spanish language madly illustrated with selling-point fashion illustrations unwise fashion be it known: "waist not want not" the message. The case-binding is handleable with legible gilt cracked but still-holding hinges original endsheets unmarked except by foxing dust & small stains and a square textblock. It is however very edgeworn with terrific dings to the boards and damage to several plates. However ugly the book-qua-book most of the 20-odd hand-colored fullpage fashion prints are not only beautiful but exceptionally so that is the hand-tinting of them: we have seen perhaps a hundred casebound collections and the ones in this exemplar are amongst the very best in terms of the specialized colorwork that is called for in tinting steel engravings; commonly colors get brushed on too vividly; outlines are breached areas left blank. We count 27 touched-up plates of which 4 or 5 are partial treatments of a single furbelow the rest i.e. the wonderful ones showing usual small groupings of the wasp-waisted. At least twenty are bogglingly sensitive and successful though you will find a few flecks a few small stain-spots and a few seriously torn margins. Not only dresses but faces limbs backgrounds and landscapes are flawlessy touched up. In addition to these main-attraction plates there are numerous monochrome plates lace patterns and such. Complete copy with all faults and virtues. In addition to lovely handwork on costume and wearer the artists here have worked their magic on children animals backgrounds of mountains and buildings and foregrounds of flowers and carpets. We have admired these engraved and frequently hand-tinted fashion fantasies throughout our career most often encountered in British and American magazines Godey's Ladies Book being the most widely distributed. As here with El Correo Godey's and its worthy competitors used French artists engravers and watercolorists. These century-old mags were almost common in the late sixties while seventies & eighties saw near-extinction especially of the expertly-tinted. Miguel Campo-Redondo / Lamourex unknown books
1984WRCLIT74309Zürich: Seedorn Verlag 1984. 381pp. plus 36 plates. Quarto 25 x 19.5 cm. Stiff printed wrappers. Wrappers and textblock a bit tanned as usual otherwise about fine. First edition limited issue. One of 75 numbered copies illustrated with 36 original linocuts by Fridjonsson and Hardarson printed in black with the justification signed by the four contributors. The text consists of 12 pieces of correspondence between Czernin and Schwartz. There were also 200 ordinary unsigned copies consisting of the text only. Seedorn Verlag unknown books
1984WRCLIT74310Zürich: Seedorn Verlag 1984. 381pp. plus 36 plates. Quarto 25 x 19.5 cm. Stiff printed wrappers. Wrappers and textblock a bit tanned as usual light tidemark to wrapper close to crown of spine and slightly over into the rear wrapper otherwise near fine. First edition limited issue. One of 75 numbered copies illustrated with 36 original linocuts by Fridjonsson and Hardarson printed in black with the justification signed by the four contributors. The text consists of 12 pieces of correspondence between Czernin and Schwartz. There were also 200 ordinary unsigned copies consisting of the text only. Seedorn Verlag unknown books
1984Embry 139439Northland Press 1984. First edition limited issue one of 50 copies signed by 23 of the 26 artists represented. Fine in fine publisher's slipcase. Full page color reproductions throughout. Brown leather backed cloth. Northland Press, 1984. First edition, limited issue, one of 50 copies, signed by 23 of the 26 artists represented. hardcover books
1985Embry 139438Northland Press 1985. First edition limited issue one of 50 copies signed by 25 of the 28 artists represented. Fine in fine publisher's slipcase. Full page color reproductions throughout. Brown leather backed cloth. Northland Press, 1985. First edition, limited issue, one of 50 copies, signed by 25 of the 28 artists represented. hardcover books
2005Embry 189858Cowboy Artists of America 2005. Limited edition signed by 21 notable cowboy artists. Fine in fine slipcase with a few very minor scuffs. Full page color reproductions. Faux turquoise suede backed faux cowhide in matching slipcase. Cowboy Artists of America, 2005. Limited edition, signed by 21 notable cowboy artists. unknown books
