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1922140943853Boston: B. J. Brimmer Company 1922. First Edition. Near Fine. First edition first printing. Signed by Georgia Douglas Johnson on the front free endpaper and inscribed to author and playwright Kenneth Phillips Britton. iv 101 pp. Bound in publisher's brown cloth with paper title label; one of two variants of undetermined priority. <p>Near Fine with light rubbing to cloth at corners and spine ends light spotting to top of top edge of textblock paper spine label and pages toned hinge following front free endpaper is slightly exposed. Scarce.<br /> <p>The second book of poetry by the influential Harlem Renaissance figure and one of the earliest female African American playwrights in which she explores motherhood and being a woman of color. Johnson's husband did not approve of her literary ambitions and insisted she focus on domestic affairs. He died three years after the publication of this book; Johnson was left a widow at age 45 struggling to support two teenage boys. She wrote an estimated 28 plays most of which were unpublished during her lifetime due to her gender and race as well as her refusal to give the plays what she considered unrealistically happy endings. B. J. Brimmer Company unknown
1922166022Boston: B. J. Brimmer 1922. Inscribed to "the greatest Black orator of his day" First edition first printing presentation copy inscribed by the author in the month after publication on the first blank "Dec. 27 - '22. To Mr. Roscoe C. Simmons shall we not dedicate this page to this day which we must regard happy and signal. Read page 15 from The Heart of a Woman & thank every God for your exclusion. Sincerely Georgia Douglas Johnson". Inscribed copies are rare: we have traced just one other. Johnson's page reference is to the poem "Repulse" which was published in her first volume of poetry The Heart of a Woman and Other Poems in 1918. Although we have not been able to identify what happened on the "happy and signal" day of this inscription the implication of Johnson's inscription must be in reference to the refrain "Nobody cares when I am glad. Nobody cares when I am sad" suggesting that Simmons as a caring friend was excluded from these. "Roscoe Conkling Simmons 1881-1951 was the greatest Black orator of his day blessed with the ability to electrify audiences for hour after hour. Americans nationwide knew of him through his electioneering for the Republican party and his lecture tours. Blacks meanwhile read his column in the Chicago Defender the nation's most popular Black newspaper. Simmons was an experienced political player and functioned as an unofficial adviser to Presidents Harding Coolidge and Hoover. Through his pack of associates - Black America's most powerful businessmen and editors entertainers and racketeers - he forged close links with key Black organizations participating in the affairs of fraternities churches and educational institutions. Therefore when white Republicans needed help in rallying Northern Black voters Simmons was the fixer they summoned" Kaye pp. 79-80. Johnson a nationally recognized figure of the Harlem Renaissance wrote from Washington DC where she had an immense influence on New Negro writers from all over the country in part by holding a literary salon in her home. Referred to as the "Saturday Nighters" the attendees included many prominent African-American writers including Countee Cullen W. E. B DuBois Alain Locke Langston Hughes and Jessie Fauset. She provided a much-needed venue in which these authors "read their works exchanged criticisms and argued views on literature art and politics and found the nurture encouragement and reception that Black Washington seemed unwilling to extend" Edwards p. 157. Johnson's literary salon had standards; as Washington journalist and poet J. C. Byars put it "if dull ones come she weeds them out gently effectively" Hull p. 166. Works by both Simmons and Johnson were included in the 1920 publication The Dunbar Speaker and Entertainer edited by Alice Moore Dunbar-Nelson. The Heart of a Woman Cornhill 1918 had been "criticized in some quarters because it did not contain enough 'racially conscious' poems Perhaps in response to such criticism her next book Bronze: A Book of Verse 1922 is much concerned with issues of race as well as gender" ANB. Both works were published by the African American poet and literary critic William Stanley Braithwaite who founded the publishing firm B. J. Brimmer in 1921 having left Cornhill when Brookes More took control and stopped publishing African American poets: "to be recognized by Braithwaite was to receive a significant imprimatur" Kenny J. Williams quoted in Brooker & Thacker p. 316. Octavo. Original white cloth-backed paper covered boards printed paper spine label spine and front cover lettered in black. With rear flap and rear panel of dust jacket loosely inserted. A little wear to extremities minor marks to boards. A very good copy notably well preserved. Peter Brooker & Andrew Thacker eds The Oxford Critical and Cultural History of Modernist Magazines Volume II: North America 1894-1960 2009; Brent Hayes Edwards The Practice of Diaspora: Literature Translation and the Rise of Black Internationalism 2009; Gloria T. Hull Color Sex and Poetry: Three Women Writers of the Harlem Renaissance 1987; Andrew Kaye Roscoe Conkling Simmons and the Significance of African American Oratory Historical Journal vol. 45 no. 1 March 2002. hardcover
140831London: Spafax Publishing in association with tate: the art magazine 2001. Signed by over 50 artists First edition first printing. Edition of 50 signed by the artists. Fig-1 was 50 projects in 50 weeks initiated by Mark Francis and Jay Jopling set in a small warehouse building in Soho each project lasting one week. Each poster is signed by the relevant artist or artists. The projects embraced a broad range of contemporary creative productions including fine art with 13 Turner Prize nominees as well as literature film and video fashion design and architecture. Quarto 32 page stapled booklet A1 folded poster with photo-portraits of all the artists 50 A2 folded posters. With the original silver card clamshell box. Box lightly rubbed to edges else fine. unknown
1968178373New York: Atlantis Editions 1968. Early abstract drawings of O'Keeffe First edition number 185 of 230 copies signed by the artist from a total edition of 250. O'Keeffe personally selected ten of her drawings two of which are from the Metropolitan Museum of Art to represent the range and variety of her work in this medium. To some of the drawings she made changes enhancing the print. Folio. With 10 reproduced drawings printed in 300-line screen offset lithography at the Meriden Gravure Co. I-IX are printed on Rives BFK paper and X on Arches Cover paper. Sheet sizes: 63.3 x 48.5 cm. Eight-page booklet together with 10 loose prints in separate folders. All housed in the publisher's white cloth clamshell box. All in fine condition. hardcover
51-7083London: Spafax Publishing; tate the art magazine ; Philip Allison 2001. 4to. 21x 29.7cm. Sheets loose as issued in original silver printed chemise and box. 28pp. text; poster and 50 signed broadsides folded from 59.5 x 42cm. to 8 pages. Fine condition. .The deluxe portfolio 2000-01 comprising 50 offset lithographs on smooth wove paper with title-page and text each signed by the respective artist the sheets folded as issued within the original silver Solander box with debossed cover and spine.Richard Hamilton Gavin Turk Tim Stoner Philip Treacy Caruso St John John Hilliard Liam Gillick Georgie Hopton & Josephine Soughton Jake & Dinos Chapman Mark Hosking Grayson Perry Simon Patterson Runa Islam Anish Kapoor Bella Freud Tacita Dean Antony Gormley Carey Young Marine Hugonnier Will Self Fiona Rae Tracey Emin Christopher Le Brun Liam Gillick Douglas Gordon Carsten Holler Pierre Huyghe Philippe Parreno Rirkrit Tiravanija Nigel Shafran Anya Gallaccio James White & Tim Sheward Mark Lewis Richard Deacon & Martin Kreyssig Wolfgang Tillmans Joao Penalva Matthew Higgs Oliver Payne & Nick Relph John Latham Gilbert & George Enrico David Mona Hatoum Andrew Lewis Cerith Wyn Evans Howard Hodgkin Tom Gidley Sam Taylor-Wood Harland Miller Peter Doig Hussein Chalayan Patti Smith Darren Almond Michael Craig-Martin Jeremy Deller Bridget Riley."fig-1" was a project initiated by Mark Francis and White Cube founder Jay Jopling who held 50 one-week exhibitions at a disused venue in Soho London.The project called together 49 British artists of different generations from veterans such as Richard Hamilton Howard Hodgkin Anish Kapoor and Bridget Riley to established YBAs including Jake & Dinos Chapman Tracey Emin and Gavin Turk and up and coming soon to be illustrious names such as Peter Doig Grayson Perry and Harland Miller - each one of them exhibiting for one week with Richard Hamilton showing twice in the first and last week.Divided into 50 sections the book chronicles each project in the words of the participants through interviews essays and visual documentaries. .Arrangment of the prints: 01. Richard Hamilton02. Gavin Turk03. Tim Stoner04. Philip Treacy05. Caruso St. John06. John Hilliard07. Liam Gillick08. Georgie Hopton Josephine Soughan09. Jake Dinos Chapman10. Mark Hisking11. Grayson Perry12. Simon Patterson13. Runa Islam14. Anish Kapoor15. Bella Freud16. Tacita Dean17. Antony Gormley18. Carey Young19. Marine Hugonnier20. Will Self21. Fiona Rae22. Tracey Emin23. Christopher Le Brun24. Liam Gillick Douglas Gordon Carsten Höller Pierre Huyghe Philippe Parreno Rirkrit Tiravanija25. Nigel Shafran26. Anya Gallaccio27. James White Tim Sheward28. Mark Lewis29. Richard Deacon Martin Kreyssig30. Wolfgang Tillmans31. João Penalva32. Matthew Higgs Oliver Payne Nick Relph33. John Latham34. Gilbert George35. Enrico David36. Mona Hatoum37. Andrew Lewis38. Cerith Wyn Evans39. Howard Hodgkin40. Tom Gidley41. Sam Taylor-Wood42. Harland Miller43. Peter Doig44. Hussein Chalayan45. Patti Smith46. Darren Almond47. Michael Craig-Martin48. Jeremy Deller49. Bridget Riley50. Richard Hamilton London: Spafax Publishing; tate, the art magazine ; Philip Allison, 2001 unknown
1936125466Tbilisi: Gosfoto Advice of National Commissioners 1936. Superb album produced to commemorate the 15th anniversary of the Georgian Soviet Republic established 1921 one of perhaps a handful put together and presented to leading dignitaries; this copy with the gilt presentation supralibros of Valerian Bakradze 1901-1971 at the time Second Secretary of the Georgian Communist Party and a protégé of Stalin's right hand man Lavrentiy Beria. 1936 was also the year in which Georgia emerged as a Union Republic; prior to this it had been a part of the Soviet Transcaucasian Federation. The album opens with "exhibition" size portraits of Lenin Stalin Kliment Voroshilov and Sergo Ordzhonikidze a close friend of Stalin who was instrumental in the founding the Socialist Republic of Georgia. These are followed by two impressively large and crisp panoramic views of Tbilisi with many landmarks clearly discernible including the Funicular Railway constructed 1905 that climbs up to the Mtatsminda plateau and affords superb views of the city and the Sioni cathedral. The most prominent official figure to attend the celebrations was Marshal Voroshilov at the time People's Commissar for Defence pictured here giving a speech and shaking hands with the head of the Georgian Republic at the time Filip Makharadze; alongside an exterior view of the Tbilisi opera house decorated with banners and a portrait of Stalin. The next 19 prints are dedicated to the ceremonial parade 10 of these of an imposing size 290 x 450 mm and taken from the same elevated point of view showing the crowd an army band and several film crews in attendance; in the background Georgian shops are clearly visible the building draped with banners in Russian and Turkic carrying slogans declaring brotherhood. The celebrations took place in was was then Lenin Square now Freedom Square and included a military march past by infantry cavalry units of the tachanka the Russian horse-drawn machine gun and tanks the single-turret T-26 the backbone of Soviet armour at this period followed by processions of sportsmen and gymnasts one group shown on a parade float displaying a portrait of Stalin. Several images show people in costume among these the bogatyr heroic figures from East Slavic legend others from Georgian myth and folklore dancers and singers. Others are the archetype of such rallies of the 1930s in showing men and women marching one group bearing banners another carrying the image of Lenin and in particular one of a young woman posed inside an enormous tyre bearing the legend "Rubber Concern USSR". The last six leaves focus on the Soviet modernization of the city and show new buildings roads and bridges. From 1937 to 1946 Valerian Bakradze was Chairman of the Soviet Council of People's Commissars known as Sovnarkom. He served on the Central Committee of the Communist Party 1939-1954 was Deputy Chairman of the Council of Ministers of Georgia 1946-1954 and in 1947 Minister of Food. "Bakradze whose son was married to a niece of Nino Beria Lavrentiy Beria's wife was personally close to Beria and always went out of his way to please him. He organized a lavish banquet in Beria's honour before his departure for Moscow in 1938 and at a plenum of the Georgian CC on 31 August he was effusive in declaring his devotion to his former chief"; but Bakradze was passed over by Stalin for promotion as he probably "wanted the new party chief to be independent from Beria" Amy Knight Beria: Stalin's First Lieutenant 1993 p. 89. However with Beria's star on the wane and amid the paranoia and power struggles that followed Stalin's death in 1953 Bakradze "continued to take the lead in denouncing Beria giving the main report on his alleged crimes at a joint session of the Georgian Central Committee and the Tbilisi Party Committee held on 13-14 July 1953. Bakradze assailed Beria as a 'foul criminal' and an 'agent of international capitalism' for whom no punishment would be too severe" ibid. p. 213. In turn Bakradze was removed from office in the early 50s by the new First Secretary of the Georgian Communist Party Akaki Mgeladze. A remarkable possibly unique record with a fine provenance containing some superb images that typify the Soviet festival of the period before Stalin's Great Terror of 1936-38 would cast its long shadow across his native land. Landscape folio 600 x 410 mm. 57 original photographs 113 x 65 mm up to 450 x 350 mm on 29 linen-hinged heavy card leaves. Presentation binding of red skiver over bevelled boards titled in gilt on front cover red silk endleaves edges stained red. A few light scuffs and abrasions to binding a few creases to prints some silvering to a number of images otherwise very good. hardcover
19233037New York: Anderson Galleries 1923. first edition. Very Good. EXHIBITION PROGRAM FOR O’KEEFFE’S FIRST MAJOR ART SHOW SIGNED AND INSCRIBED BY O’KEEFFE.<br /> <br /> Inscribed by O’Keeffe on cover in pencil: “I am sorry you cant come – / Hope all is well with you / Sincerely / Georgia O’Keeffe.â€. O’Keeffe’s first major show – opening at Anderson Galleries in New York on January 29 1923 –was a sensation. “The reviews were excellent. Henry McBride pleased O’Keeffe ‘immensely’ when his piece for the New York Herald stated that in the show ‘there is a great deal of clear precise unworried painting’ which Stieglitz was calling ‘color music.’ The Sun’s critic Alan Burroughs marveled that in the concurrent exhibition of still lifes and flower pieces by the likes of Cézanne Manet Monet and Renoir at Durand-Ruel ‘one sees no canvases with the intensity of Miss O’Keeffe’s.’â€<br /> <br /> “As many as five hundred people a day thronged the galleries. Although many went out of curiosity aroused by Stieglitz’s photographs of the artist once there they mostly liked what they saw. O’Keeffe’s work was sensuous easily understandable greatly appealing often decorative and much of it seemed quite overtly sexual in a fashionably liberated way. Some twenty paintings were sold for a total of about $3000…†Whelan.<br /> <br /> There was no catalog for the show - for as Stieglitz wrote explicitly on the back page of the program “There is no catalogue. The pictures have no titles but are numbered and dated†– so this program is the only significant printed documentation of the exhibition. And significant it is for it opens with an artist’s statement by O’Keeffe that is one of the most important and revealing things she ever wrote.<br /> <br /> She opens with a blunt almost anti-romantic autobiography: she “grew up pretty much as everybody else grows up†and then describes a turning point “one day seven years ago†when she realized she couldn’t keep living by other people’s rules — “I can’t live where I want to… I can’t even say what I want to.†She identifies painting as “the only thing I could do that didn’t concern anybody but myself†and discovered that she could say things “with color and shapes†that she couldn’t say any other way — “things that I had no words for.â€<br /> <br /> She almost cheekily anticipates some criticism “Some of the wise men say it is not painting some of them say it is. Art or not Art – they disagree. Some of them do not care.†before shifting her narrative to credit Stieglitz not only for this exhibition but for her famous introduction to the art world when Stieglitz exhibited the drawings shown to him by O’Keeffe’s friend Anita Pollitzer years earlier.<br /> <br /> In a bluntly forthright final paragraph she expresses her ambivalence but also her need to have her paintings shown: “I say that I do not want to have this exhibition because among other reasons there are so many exhibitions that it seems ridiculous for me to add to the mess but I guess I’m lying. I probably do want to see my things hang on a wall as other things hang so as to be able to place them in my mind in relation to other things I have seen done. And I presume if I must be honest that I am also interested in what anybody else had to say about them and also in what they don’t say because that means something to me too.â€<br /> <br /> ––––––––<br /> <br /> New York: The Anderson Galleries 1923. 6.25x9.5 inches. Two sheets making eight pages when folded as issued. With a printed extract on O’Keeffe by Marsden Hartley headed: “Extract from ‘Some Women Painters’ in ‘Adventures in the Arts’ by Marsden Hartley.†on pages 5-6. Mailing folds some general light soiling. Housed in custom presentation folder. <br /> <br /> RARE: We are not aware of another signed copy that has been on the market. <br /> <br /> References:<br /> <br /> Whelan Richard. Alfred Stieglitz: A Biography. Boston: Little Brown 1995 pp. 437-9. Anderson Galleries unknown
19692925Abiquiu New Mexico: np 1969. first edition. Fine. GEORGIA O’KEEFFE AS ART DEALER FOR HER OWN WORK: A fascinating correspondence between O’Keeffe and disgraced art dealer Andrew Crispo revealing O’Keeffe’s reluctance to sell her paintings. On September 27 1969 the 24-year-old art dealer Andrew Crispo who later became infamous through his connection with the “Death Mask Murder†case visited O’Keeffe at her home in Abiquiu New Mexico. While there Crispo – perhaps trying to make a big splash in the art world – negotiated with O’Keeffe to purchase three of her paintings: “Lake George – Blue†for $6000; “White Birches†for $40000; “Mule’s Skull and Pink Poinsetta†for $50000. The first letter in the correspondence dated September 29 is from O’Keeffe to Crispo outlining the terms for the sale of “Lake George – Blue†for $6000. This is no simple sale however – Crispo wants payment terms and O’Keeffe outlines them here: $100 paid already $1900 due in January 1970; $2000 in January 1971; $2000 in January 1972.<br /> <br /> The most interesting part of the letter however is O’Keeffe reluctance to let go of her work. She proposes a deal where she has the right of first refusal to buy it back from Crispo for $6000 should he wish to sell it to anyone. She originally wanted no time limit on this but Crispo successfully negotiated a window reflected in a “Note†at the bottom of the letter of four years for O’Keeffe’s right of first refusal. This letter signed by both O’Keeffe and Crispo retains its original envelope with September 30 1969 postmark.<br /> <br /> The negotiations get more complicated when considering two significantly more expensive O’Keeffe paintings. In an October 2 1969 letter from Crispo included here he notes that he gave her deposits $100 each on the two paintings and understood the checks and their verbal agreement bound her to sell the painting “White Birches†for $40000 and “Skull and Poinsettas†later renamed “Mule’s Skull and Pink Poinsetta†for $50000. O’Keeffe was clearly getting uncomfortable with the sale of these paintings; hence Crispo’s insistence that the deal had been made.<br /> <br /> This hesitancy comes to the fore in the final letter signed by O’Keeffe in the collection. Dated December 11 1969 the letter – after confirming the details of the “Lake George†sale reads in part:<br /> <br /> “You may recall that when we first met I told you that I did not wish to sell any paintings. As I have thought things over it seems best to leave things that way. I would rather keep the two paintings than send them to you.â€<br /> <br /> She then notes that she is returning his two checks for $100 deposits on the paintings and the two torn checks are included with this letter along with the original envelope.<br /> <br /> O’Keeffe at the time of this letter was 82 years old and it is surprising that she turned down a substantial amount of money for the two paintings. The $90000 for the two paintings is approximately $760000 in today’s dollars. Perhaps she really couldn’t bear to let them go or perhaps she sensed something unsavory about Andrew Crispo. In 1969 Crispo had been working at New York City’s ACA Galleries and was likely laying the foundation for his namesake gallery which he opened a few years later but in the 1980s and 90s Crispo became notorious for his involvement in the gruesome “Death Mask Murder†case and later served time in prison for extortion.<br /> <br /> Over time all three paintings passed through various private collections. “Lake George - Blue†the only painting Crispo successfully purchased from O’Keeffe remains in a private collection. “White Birches†is now housed at the Amon Carter Museum of American Art in Fort Worth Texas while “Mule’s Skull with Pink Poinsetta†is part of the Georgia O’Keeffe Museum’s collection in Santa Fe New Mexico.<br /> <br /> ––––––––<br /> <br /> In total this archive includes two O’Keeffe typed letters signed one unsigned O’Keeffe typed letter and one Andrew Crispo typed letter signed with a duplicate retained copy a retained copy of a Crispo letter Dec. 5 two torn checks signed by Crispo and two transmittal envelopes from O’Keeffe. All letters on standard 8 1/2 x 11 sheets. Mailing fold lines a few creases otherwise fine condition with strong O’Keeffe signatures in black ink. np unknown
1734377785London: Printed by M. Downing 1734. First edition. 472pp. 8vo. Modern panelled calf. Extensive paper restoration largely at margins of title and terminal leaf. First edition. 472pp. 8vo. The first edition of an account of a journey undertaken in 1734 by a group of exiled Salzburgers from England to Charleston South Carolina and then to Georgia. <br /> <br /> The pamphlet consists of extracts of journals maintained by von Reck the leader of the journey and Bolzius one of the ministers of the settlement. Upon arriving in the new colony of Georgia the exiles were settled by James Oglethorpe at a location on the Savannah River to be known as Ebenezer. The account describes life in 18th-century Georgia providing details regarding geography farming and developing towns such as Savannah. "There are good observations on Indians land and scenery morals and religion" Clark. <br /> <br /> The first printing of two first-hand accounts documenting the settlement of Georgia in the mid-18th century. Scarce. Howes R104 "b"; Sabin 68369; Church 917; De Renne p.52; Clark I:136 Printed by M. Downing unknown
3036Ghost Ranch New Mexico: np 1975. Fine. ARTIST’S PROOF SIGNED BY THE PHOTOGRAPHER BUDNIK. A wonderful evocative photograph of O’Keeffe at 87 years old taken at her beloved Ghost Ranch just north of Abiquiú New Mexico.<br /> <br /> By March 1975 when this photograph was taken O’Keeffe had begun to explore pottery as her chief artistic medium. The photographer Budnik powerfully foregrounds the hands that shaped the clay reminding us of O’Keeffe’s relentless pursuit of art and creativity. At an age where most famous people are photographed looking wise or contemplative it’s refreshing to see Budnik capturing the joy of O’Keeffe in her later stage of life.<br /> <br /> The photographer Dan Budnik whose career ranged from artist portraiture to major documentary work on the Civil Rights Movement brought to his sitters an unusual mixture of intimacy and formal rigor. His 1975 photographs of O’Keeffe at Ghost Ranch are among the most compelling visual records her in the last years of her life.<br /> <br /> Gelatin silver print artist’s proof noted “AP†by Budnik at bottom left from an unspecified edition; printed later. Not examined out of frame. Size: 16 x 10.5 in; framed to an overall size of approx. 26 x 23 in. Fine condition. np unknown
19782392Chicago: Art Institute of Chicago 1978. First edition. Fine. DELUXE SIGNED LIMITED FIRST EDITION ONE OF ONLY 100 COPIES. INSCRIBED BY MARC CHAGALL "Pour Art Inst. Chicago Marc Chagall 1979" AND SIGNED BY WILLEM DE KOONING IVAN ALBRIGHT JOAN MIRÓ AND GEORGIA O'KEEFFE FEATURING 100 COLOR REPRODUCTIONS OF THE ART INSTITUTE'S MOST FAMOUS WORKS. Issued as part of the festivities surrounding the Art Institute's 100th birthday in 1979 The Art of Institute of Chicago: 100 Masterpieces celebrates the museum's 100 most beloved masterpieces and the artists behind these great works. In addition to the valuable signature pages each on a separate preliminary page this book contains beautiful color reproductions of 100 of the most magnificent works held by world-renown museum.<br /> <br /> There was much fanfare surrounding the 100th anniversary of the Art Institute. In addition to this book's publication the institute was feted with a Centennial Birthday party and a month-long exhibition in March 1979 entitled "The Art Institute of Chicago: 100 Years".<br /> <br /> David C. Hilliard a life trustee who helped produce 100 Masterpieces explains that the deluxe limited editions were sold in large part to buy an Indian sculpture for the Institute in honor of Board Chairman James Alsdorf and his wife Marilyn. Devoted art fans themselves the couple's private collection of Indian and East Asian art helped academics and collectors contribute enormously to the scholarship surrounding this field.<br /> <br /> The process of getting the artists' signatures had its difficulties - particularly when it came to approaching the more irascible ones like Georgia O'Keeffe who was a student at the School of the Art Institute of Chicago. Per Hilliard:<br /> <br /> "There is a good story connected with the book. We sent a young man down to visit Georgia O'Keeffe and ask for her agreement to participate. Georgia could be prickly so we chose as our envoy a young man whose father had given her the land on which she had her house and studio. And indeed he was given a warm reception and tour. When they parted Georgia said she would sign. but then added "If you will tell me the location of my painting that I gave to the Art Institute 'East River from the Shelton.'" We were overjoyed and asked the American Arts Department to let us see it. As Georgia knew it had presumably been stolen years before and a full search could not locate it. But she relented I think she enjoyed her joke and signed the books anyway!"<br /> <br /> A rare and extraordinary work that powerfully encapsulates the growth and development of the Art Institute of Chicago from a tiny academy to a "hub of the city's artistic life" Encyclopedia of Chicago . All the more desirable with the signature of five of the 20th century's greatest artists.<br /> <br /> Chicago: The Art Institute of Chicago 1978. Folio 10.5x14 inches; with box 12x15 inches original burgundy morocco watered silk endpapers all edges gilt. Housed in original box covered in matching morocco with gilt lion on front. Printed and bound by R.R. Donnelley & Sons at The Lakeside Press. Designed and composed by Rand McNally. A few spots of wear to box otherwise fine. <br /> <br /> A MAGNIFICENT PRODUCTION CELEBRATING ONE OF THE WORLD'S GREAT MUSEUMS WITH LARGE SIGNATURES OF SOME OF THE MOST IMPORTANT ARTISTS OF THE 20TH CENTURY. Art Institute of Chicago unknown books
1976263163New York: Viking Press 1976. One of 175 signed specially bound and with suite of prints. 108 color plates. With extra suite comprising 15 of 16 color plates. 1 vols. Folio. Black cloth. Plates in card folder with mounted portrait. In black cloth drop box. Lacking one print from the suite one print toned along one margin else Fine. In original mailing box. One of 175 signed specially bound and with suite of prints. 108 color plates. With extra suite comprising 15 of 16 color plates. 1 vols. Folio. Georgia O'Keeffe 1887-1986 was a famous American artist best known for her paintings of enlarged flowers New York skyscrapers and New Mexico landscapes. O'Keeffe began to be considered a legend in the 1920s and was known for her distinctive style. Here in her first book she writes about her own paintings and artistic style. This limited edition includes dozens of color plates of O'Keeffe's work. Viking Press unknown books
199986677Yale University Press; Et Al. New. 1999. Hardcover. 0300081766 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Corresponds to ASIN: B000IVEPX4 and ISBN: 0300081766. TWO 2 VOLUME SET each volume with 600 pages; well illustrated. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works Yale University Press; Et Al hardcover
197222337EAlbuquerque NM March 29 1972. Original Typed Letter Signed by the famed contemporary artist Georgia O’Keeffe to the Los Angeles opthalmologist and surgeon Glenn O. Dayton referencing her failing eyesight. Single sheet 8 1/2†x 11â€. The letter reads in full: “Abiquiu New Mexico March 29 1972 - Dear Mr. Dayton: When I was in your office someone asked me if anyone in my family had any eye trouble like mine and I said no. Later I remembered I had a grandfather in Budapest who went blind. That’s all I know about it - it might be an item of vague interest. My left eye has become much more cloudy and it’s as if my right eye is beginning to be cloudy. I assume that I should know there is nothing that could be done about if - am I correct I have gone to the doctor here again just last week and he tells me that my eye is no worse so I assume that nothing has happened to it. I would go to see you again but from what I understand there would be no real reason for me to go. Sincerely Georgia O’Keeffeâ€. Very minor creases from folding and with “File†written in an unknown hand next to Dr. Dayton’s name and address else fine. Georgia O’Keeffe 1887 - 1986 was an American artist best known for her paintings of flowers New York skyscrapers and New Mexico landscapes. She continued to paint into the 1970s when her almost complete loss of eyesight due to macular degeneration which began in 1968 significantly curtailed her ability to work. On March 6 1986 O'Keeffe died in St. Vincent's Hospital in Santa Fe having almost reached her goal of living to 100; she was 98 years old. The Georgia O'Keeffe Museum opened in Santa Fe in 1997. The assets included a large body of her work photographs archival materials and her Abiquiu house library and property. The Georgia O'Keeffe Home and Studio in Abiquiu was designated a National Historic Landmark in 1998 and is now owned by the Georgia O'Keeffe Museum. unknown books
1999C86677Yale University Press; Et Al. As New. 1999. Hardcover. 0300081766 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Corresponds to ASIN: B000IVEPX4 and ISBN: 0300081766. TWO 2 VOLUME SET each volume with 600 pages; well illustrated. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Yale University Press; Et Al hardcover
1961150130Washington D.C: United States Government Printing Office 1961-1966. First editions of the complete set of Truman’s papers from 1945-1953. Imperial octavo eight volumes original publisher's cloth with gilt titles to the spine frontispieces. Presentation copy inscribed by President Truman in the fifth volume 1949 on the half-title page "Kindest regards to Georgia & Andy Gray from Harry S. Truman 3-2-65." The recipient Georgia Neese Clark Gray 1898-1995 was the first woman to hold the office of the Treasurer of the United States. Gray was active in the state Democratic Party and was elected Democratic National Committee member from Kansas in 1936 a position she held until 1964. She was an articulate and well-liked representative of the party and an early supporter of Harry S. Truman. It was this support that brought about her nomination as the first woman to be Treasurer of the United States a post she held from 1949 to 1953. In fine condition with light rubbing to the extremities. Housed in the original cardboard shipping boxes with each box sealed except for volume five 1949 and volume eight 1952-1953. After serving as a United States Senator from Missouri 1935–45 and briefly as Vice President 1945 Harry S. Truman succeeded to the presidency on April 12 1945 upon the death of Franklin D. Roosevelt. Germany surrendered on Truman's 61st birthday just a few weeks after he assumed the presidency but the war with Imperial Japan raged on and was expected to last at least another year. Truman approved the use of atomic bombs to end the fighting and to spare the millions of American and Japanese lives that would inevitably be lost in the planned invasion of Japan and Japanese-held islands in the Pacific. Although this decision and the numerous issues that arose as a result of it remain the subject of debate to this day it was one of the principal factors that forced Japan's unconditional surrender. Truman presided over an unexpected surge in economic prosperity as America sought readjustment after long years of depression and war. His presidency was a turning point in foreign affairs as the United States engaged in an internationalist foreign policy and renounced isolationism. Truman helped found the United Nations in 1945 issued the Truman Doctrine in 1947 to contain Communism and got the $13 billion Marshall Plan enacted to rebuild Western Europe. His political coalition was based on the white South labor unions farmers ethnic groups and traditional Democrats across the North. Truman was able to rally these groups of supporters during the 1948 presidential election and win a surprise victory that secured a presidential term in his own right. United States Government Printing Office hardcover
200471619Torch Press. New. 2004. Hardcover. 0971640823 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 240 pp. With 215 ills. 136 col. . 33 x 27 cm. -- with a bonus offer-- . Torch Press hardcover
20011966New York: Hippocrene Books. New. 2001. Paperback. 0781808839 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - -- with a bonus offer-- May be either: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition . Hippocrene Books paperback
197684635Viking Press. As New. 1976. Hardcover. 0670337080 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Corresponds to ISBN: 9780670337088 and ASIN: 0670337080. Pages not numbered; 108 color plates; folio. -- with a bonus offer-- . Viking Press hardcover
1950List1810Mostly Atlanta 1950. Leatherette album measuring 12 x 9 inches. With over 225 images most 4 ½ x 2 ¾ inches. Very well preserved and nearly complete with three empty slots about fine overall. Near Fine. A compelling visual record of the childhood of Mable Williams of Atlanta Georgia a high school student at Booker T. Washington High School in Atlanta the first public high school for African-American students in the state. Williams graduated from Booker T. Washington High School in 1953 per a newspaper article included here and would attend Spelman College. Composed mostly of snapshot photographs of her friends and family as a group the album provides a visual record of a vibrant network of family and friends in Atlanta during the time period. <br /> <br /> The album begins with a picture showing her as a girl alongside a picture of a house perhaps hers and traces her life through early adulthood through snapshots and family photographs. We find records of Williams performing at the Greater Atlanta Music Festival in 1950 as a representative of her high school. A newspaper article laid in shows Williams in a newspaper showing her graduation picture and stating that she will attend Spelman College in Atlanta in September of 1953. Pictures show her in New York City visiting a friend at N.Y.U. She would later marry Billy Reid a local jazz musician from Atlanta and would remain active in the Spelman community after graduating in 1957. <br /> <br /> Overall a very well preserved document of the African-American community in Atlanta during the 1940s and 1950s. unknown
186241733Turnwold Putnam County Ga. 1862. Each issue a folio sheet folded to 8 pp. Each page 9-1/4" x12." Each number printed in three columns per page. No. 1 is browned. Very Good.<br /> <br /> Crandall does not record Numbers 4 and 5; but AAS which says The Countryman was "suspended intermittently" evidently owns them. Its first printing was March 18 1862. With the opening issue of this volume III Turner trumpets the "remarkable" success of The Countryman which has received a "universal acclaim of approbation" and has been financially successful. The articles cover an array of subjects including of course much on the War: Why the Hessians Enlist; the "worst provincialisms of the Yankees;" John Adams; observations on the War; the printing of The Countryman; poetry "The Old Plantation"; advertisements; President and leaders of the Confederate States; Iron; "Teaching Negroes to Read." <br /> This interesting Confederate weekly was printed at Turnwold Turner's Putnam County plantation probably the only wartime newspaper so printed. "Joel Chandler Harris was an apprentice for Joseph Addison Turner. In 1862 Turner decided to produce a newspaper from his home at Turnwold Plantation. In fact in a more-than-semi-autobiographical book Harris wrote called On the Plantation he explains that the printing office for The Countryman was established 'in an outhouse.'. . . As was the typical arrangement for the time Harris worked for Turner in exchange for clothing and boarding at the Turnwold Plantation for the four plus years he apprenticed there. As a printer's devil Harris was responsible for setting and inking the type for the paper on the hand-press individually placing the letters so they were spaced appropriately for printing" "Joel Chandler Harris and The Wren's Nest" December 3 2020 Blog site of American Writers Museum accessed May 01 2026. <br /> Crandall 5152. Not in Parrish & Willingham. Lomazow 687. unknown
200682837Oak Knoll Press; Society; Et Al. New. 2006. Hardcover. 1584561939 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- xviii 2 210 pages; 4to. -- with a bonus offer-- . Oak Knoll Press; Society; Et Al hardcover
2002101749Museum; Et Al. New. 2002. Hardcover. 0915977451 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 360 pages. -- with a bonus offer-- . Museum; Et Al hardcover
198974793Museum. New. 1989. Paperback. 0916769046 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 98 pp. With 58 ills. 12 col. and 56 photos of the artists. 28 x 22 cm. -- with a bonus offer-- . Museum paperback
1990102686Gallery. New. 1990. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- - 12 pages. 16 works catalogued; illustrated in black and white and with one color image. -- with a bonus offer-- . Gallery paperback
