Search Results: Art from Aardvark Rare Books

Anchorage, Alaska: Anchorage Museum of History and a rt: Alaska Design Forum, 1996. Softcover. Very Good. Grey cardstock covers (9 in. x 6 in.) with a photograph of one of Mr. Goldsworthy's pieces to center. 15 color photos of his "extallations" The artist's "interest in the properties of cold and the process of working with the natural materials 'at hand' have resulted in intriguing statements about rocks, wood, water and ice. These are 'in tune' and sympathetic with their immediate surroundings and they dramatically demonstrate the continuous process of creation and entropy in nature, even in the depths of winter..." (From Foreword).

London, England: Privately Printed for Mr. and Mrs. F.T. Davies, 1891. First Edition. Hardcover. Very Good. Hugh Thomson, Louis Wain. Small Quarto, 9.9 in. x 7.5 in., pp. 44. Rich blue morocco boards with gilt title and decorativestylized art nouveau fleur de lys design, and one raised band, to spine. Rubbing to extremities. Scuffing to edges of spine. Corners showing. Decorative fleur de lys design gilt dentelles; lilac and chartreuse marbled endpapers. Bookplate ("M.C.D. Borden") to front pastedown. Cardstock title page. Light age-toning to pages. Eighteen engravings with captions from the leading book artists at the close of the 19th century, including A Bryan, L. Davis, A.T. Elwes, Harry Furniss, J. Jellicoe, Louise Joplin, J.B. Partridge, Joseph Pennell, R.H. Moore, H. Railton, Hugh Thomson, Louis Wain, W. Wilson, and Austin Dobson With a prefatory poem by Ausin Dobson. Printing information from colophon. Page 43: "The reproductions of the original drawings are by Messrs. Hare, 31, Essex… Read More

New York: Museum of Modern Art (M.O.M.A.), 1994. First Edition. Hardcover. Near Fine in Near Fine Dustjacket. Quarto. brick-colored cloth-covered boards (11 1/4 in. x 10 in.), with midnight-blue endpapers. A lavish production spearheaded by Ms. Castleman, then Chief Curator in the Department of Prints and Illustrated Books at the Museum of Modern Art. 264 pages. 224 illustrations, 76 in color. Published on the occasion of the exhibition A Century of Artists Books, organized by Riva Castleman, Chief Curator, Department of Prints and Illustrated books, The Museum of Modern Art, New York, October 23, 1994-January 24, 1995. This constituted "the most extensive and wide-ranging survey of modern illustrated books to be offered in many years, presenting work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinaire to Susan Sontag. It is the most complete survey in English on this subject and an important reference for collectors and conoisseurs, as well as a delight for any… Read More

Seattle, WA: Marquand Books, 2013. First Edition. Hardcover. Near Fine / Near FIne. Small folio, 12.25 in. x 12.5 in., pp. 334. Blach cloth boards with blind-stamped mandala design and silver tiotle to front. Silver title to spine. In the fall of 1899, Charles A.A. Dellschau (1830-1923), a retired butcher and who later worked in the Stelzig family saddlery business in Houston, embarked on a project that would occupy him for more than 20 years. What began as an illustrated manuscript recounting his experiences in the California Gold Rush, became an obsessive project resulting in 12 large, hand-bound books with more than 2,500 drawings related to airships and the development of flight. Dellschau's designs resemble traditional hot air balloons augmented with fantastic visual details, collage and text. The hand-drawn "Aeros" were interspersed with collaged pages called "Press Blooms," featuring thousands of newspaper clippings related to the political events and technological advances of the period.… Read More

New York: Anchor Press/Doubleday, 1979. 1st Edition(s). Hardcover. Near Fine in Good Plus Dustjacket. Quarto. Black cloth-covered boards with ever-so-slight rubbing to corners -- hardly noticeable. Decorated endpapers. Dustjacket shows some shelfwear and chipping, particular to spine caps. Groundbreaking work in Feminist art which "transforms the idea of the dinner party into a work of unprecedented beauty and scope. A monumental sculpture, THE DINNER PARTY is a symbolic history of women's achievements and women's struggles told through. thirty-nine china-painted plates and elaborately embroidered runn ers which cover an open triangular table. Each setting is devoted to a mythical or historical female and represaentes her accomplishments or her legendary powers. A 'Heritage Floor' made of 2,300 porcelain tiles bears the names of 999 other women -- chosen from all countries, periods, and fields of endeavor..." (front flap). Written and Illustrated by Judy Chicago. Designed by Sheila Levrant de Bretteville.

New York: Abrams, 2015. First Edition. Hardcover. Very Good Plus / Near Fine. Folio. 14.3 in. x 11.25 in., pp. 367. Lushly illustrated with color photographs. White paper boards with textured ribbing design in blind to front. Silver title to spine. Top corners nudged. Double dustjacket protected in mylar.

San Francisco, CA: Paul Elder and Company, 1912. FIRST EDITION (NAP). Hardcover. Very Good. David Starr Jordan and Shimada Sekko. Brown, paper-covered boards (6 1/2 in. x 8 in.), with maroon lettering to front, with a pastedown vertical paper ribbon (2 in. x 8 in.) , ruled in maroon, featuring four of Eric's "beasts". Evidence of some minor and careful conservator's touch-up near spine. Printed at the Tomoye Press. John Swart designed the typepage, and Jean Oliver helped with the Decorations. Lightly bumped/worn corners, but book very tightly bound. "These cartoons were made one by one in moments of leisure to please a small boy. They are now reprinted in the hope of pleasing other small boys and girls. They were originally in color, but for the present purpose they have been made over in black and white by a Japanese artist, who has given them life by occasional quaint touches. of his own.

Portland, OR: Pacific Northwest College of Art, 1999. First Edition. Softcover. Very Good. Quarto, 10 in. x 9.5in., pp. 88. Inscribed and signed by the author on the front free endpaper. Pictorial front cover with white title to front and spine. Light rubbing to edges. Laid in: Two advertising mailers: one promoting Gilkeys exhibit in Portland; the other Gilkeys 2001 exhibit in Corvallis at Oregon State University. Also laid in: an additional two-sided prints by Gilkey. Illustrated catalog for the retrospective exhibit celebrating Gilkey's six decades of printmaking and photography - held at Portland's Pacific Northwest College of Art from November 4 through December 6, 1999. Mr. Gilkey was born in Scio, Ore., in 1912 and became the first graduate to earn a fine arts degree in printmaking at the University of Oregon. He began collecting prints by trading his own work with other students. He expanded his knowledge of the medium after World War II, when he worked for the War Department in Europe,… Read More

Portland, OR: Triangular Press, 2005. First Edition. Hardcover. Very Good Plus. Quarto, 10.6 in. x 7.6 in., pp. 47. Limited edition: #161/1000. Blue cloth spine over natural paper boards. Black title with green design on paper label to front. Light fingerprint stain to front and to back boards. Unmarked interior. Barbara Tetenbaum has been creating limited edition artist books under the imprint Triangular Press since 1979. She is Professor and Department Head of Book Arts at Oregon College of Art & Craft in Portland, Oregon. This book was published to accompany an exhibition at the Portland Public Library, December 2005.

New York: Sotheby's, 2017. First Edition. Hardcover. Very Good. Square octavo, 9.25 in., pp. 192. Wheat-color cloth boards with black title and angle design stamped in black to front. Black title to spine. Light soiling to boards, with corners lightly nudged. Black endpapers. Unmarked interior. Exhibition Catalog for the October 19 - December 8, 2017 selling exhibition put on by Sotheby's Auction House. De Stijl, also known as Neoplasticism, was a Dutch art movement founded in 1917 in Leiden. De Stijl consisted of artists and architects. In a more narrow sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour. They simplified visual compositions to vertical and horizontal, using only black, white and primary colors. (from Wikipedia).

New York: AMERICAN ARTISTS GROUP, 1943. FIRST EDITION (NAP). Hardcover. Very Good Plus in a Very Good Dustjacket.. Octavo.Light brown buckram-covered boards, with gilt and red lettering/design to spine. Loaded with black and white photographs and eight color images. Light shelfwear to dustjacket and some light shipping to top and bottom of spine (of dustjacket). "...an interpretive account based on the volumnious notes and sketches that Curry has kept since. his youth, of his early home life on a Kansas farm, the exhuberant enthusiasm of the high school and college athlete, his professional art training at the Kansas City and Chicago Art Instiututes, the hard and successful struggle with reality in the commercial art field, the study and experience in the European academy and art museums, and the years of fruitful activity since 1929 directed toward new forms and a distinctly American art... This book is "another volume. in the series devoted to outstanding American artists...on the premise that… Read More

Provo, Utah: Brigham Young University Press, 1974. Numbered, Limited Edition. Hardcover. Very Good. Limited editon of 259 copies with this copy numbered 138, and Bound in Faux leather (Whitman Sanigal Bucksyn) and Boston Canvas. 236 pages, notes, bibliography, index. Numerous color and black and white illustrations. Chapters include Early Years, New York Period, Return to the West [1912-1920], Social Commentary paintings, Last Decade [1937-1946]. Also includes full catalogue of oil paintings. Beautifully illustrated. Quarter brown leather over padded linen boards. Housed in publisher's faux leather (Buckskyn) slipcase. Some spotting to canvas boards, bump to bottom of spine, interior bright and clean.

Garden City, NY: Doubleday, Doran, and Co., Inc, 1945. STATED FIRST EDITION. Hardcover. Very Good / Very Good Plus. Salvador Dali. Octavo, 8.4 in. x 5.7 in., pp. 111. Boldly signed by famous Surrealist artist to front free endpaper -"Salvador Dali, 1945", in thick black ink to front free endpaper. Gray cloth beveled boards with embossed maze design, in blind and with gilt title on red stamped panel to front and spine. Light fraying to extremities and sunning to spine. One or two small smudges to front board. Bottom corners lightly rubbed-through. Unmarked interior. Sunning to edges of dustjacket, with fully-intact price of $2.50 to top of front flap. Protected in mylar. Stated First Edition. Maurice Sandoz was born on April 2, 1892 in Basel, Switzerland. He was a writer, known for The Maze (1953) and Spring-Heeled Jack (1950). He died in 1958 in Lausanne, Switzerland. The book tells the story of a Scots who abruptly breaks off his engagement to pretty Kitty and moves to his uncle's castle in the… Read More

Bern, Switzerland: Benteli Publishers, 2004. First Edition. Hardcover. Very Good Plus / Very Good Plus. 11.25 in. x 9.6 in. pp. 263. Orange cloth boards with black title to spine. Slight nudge to top front corner. Original sales sticker to back of dustjacket. This catalogue was oublished on the occasion of the exhibition of artist Kurt Schwitters. Foreward written by Guido Magnaguagno. Kurt Hermann Eduard Karl Julius Schwitters (1887 - 1948) was a German artist who was born in Hanover, Germany. Schwitters worked in several genres and media, including Dadaism, constructivism, surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called "Merz Pictures". (from The Tate Museum).

Lanham, MD: The Derrydale Press, 2001. First Edition. Hardcover. Near Fine / Near Fine. Quarto, 10.25 in. x 7.25 in., pp. x, 149. Signed by the author on the title page. Illustrated with color and black and white plates. Textured gray paper boards over brown spine. Gilt title to spine. Protected in mylar.

Washington D.C.: Acropolis Books Ltd, 1976. Hardcover. Very Good. Peter Max. Quarto, 11.8 in. x 8.2 in. Unpaginated. Illustrated with color and black and white art drawings and paintings. Color illustrated pictorial boards. Black title to white background on front and spine. Light rubbing to board edges. Top rear corner nudged. Pictorial endpapers. Unmarked interior. "What a beautiful world we may have in the year 2000 if we, hwere in America, utilized our incredible resources to benefit not only America, but all mankind." - Peter Max (from the rear board).

New York: Atelier Press, 2002. First Edition. Hardcover. Fine/Fine. Quarto. 120 Illustrations (100 in full color). Inscribed by the collector Richard Wiseman on half-title page. (Another inscription below, as yet unidentified). 128 pp.

Washington D.C.: The Corcoran Gallery of Art, 1999. Hardcover. Near Fine / Near Fine. Roy Lichtenstein. Folio, 13.75 in. x 9.6 in., pp. 247. 3,000 copies printed. Bright red boards with title stamped in blind to spine. Protected in mylar.

San Francisco, CA: Chronicle Books, 1996. Hardcover. Fine in Near Fine Dustjacket. Michael Sowa. Charcoal Gray Folio 9 in. x 8 1/2 in. LIght shelfwear to jacket. "Sowa's Ark showcases the fantastic, off-kilter imagination of artist Michael Sowa, where pigs gaze distractedly from telephone wires, and genteel ducks remove their bathrobes before swan-diving into the water..." (DJ notes, rear panel). 72 pp. "In a cross between Magritte and The Far Side, Sowa's Ark showcases over forty playfully macabre images that evoke the absurdity of language and of life."

Charlottesville, VA: Dragon's Dream, Limiterd, 1979. Stated First Edition. Softcover. Very Good. Folio softcover. 12 in. x 12 in., pp. 159. Illustrated with color and black and white paintings and drawings by the authors. Light rubbing to extremities. No spine crease. "The Studio was the name of a small artists' loft commune formed in 1975 by four comic book artists/commercial illustrators/painters in Manhattan's Chelsea district. These artists were Barry Windsor-Smith, Jeff Jones, Michael Kaluta, and Bernie Wrightson — known colloquially as the "Fab Four". The purpose of The Studio was to provide the group with a space where they could pursue creative products outside the constraints of comic book commercialism." (from Wikipedia).