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New York: Museum of Modern Art, 1998. With essays by Carolyn Lanchner, Jodi Hauptman, and Matthew Affron, and contributions by Beth Handler and Kristen Erickson. 303pp. Profusely illustrated in color and in black and white. Oblong 4to, black cloth, d.w. New York: The Museum of Modern Art, (1998). Fine.
New York: Abrams, 1981. Profusely illustrated in color and in black & white. 307 pages. Large oblong 4to, red cloth lettered in white and black, orange printed d.w.; minor wear from removal of sticker on front free endpaper, dust wrapper lightly scuffed. New York: Harry Abrams, (1981). First edition. A very good copy in a very good dust wrapper.
Los Angeles: Gemini Gel, 1969. 1 foldout with title and three-page essay and interview by Frederic Tuten, followed by 13 color plates, loose as issued in a red folding envelope with die-cut design on front. Slim obglong 8vo (9.5 x 6.5 inches). Los Angeles: Gemini Gel, 1969. First edition. Some light wear to the envelope but prints are all fine. A very good(+) copy of this rather scarce item -- a prospectus for Lichtenstein's famous lithographic series featuring Monet's haystacks.....
London: Phaidon, 1999. Packed with 535 illustrations, mostly color. 512 pages. Very thick square 4to, softcover with glossy printed wrappers. London: Phaidon Press, (1999). First softcover edition. A fine copy. Well-organized, informative, authoritative and challenging, Art Today is the ideal introduction for anyone wishing to confront contemporary art.
New York: Atlantic Monthly, 1995. 48 full-page color plates, other black-and-white illustrations. xiii + 400pp., large 4to, cloth-backed blue boards, d.w. New York: Atlantic Monthly Press, (1995). First edition. A very good (+) copy in a very good (+) dust wrapper. Signed by Norman mailer on the half-title page.
A.L.S., 8vo. 1 page, no place/no date, in French, translated, c. early 1883, at a time when he suffered from a host of ailments and was unable to complete even the most rudimentary commission without difficulty, in full: "I will implore you to delay until later the visit you promised to make me Thursday in my workshop. I am not yet advanced enough with my painting. 'Til next Thursday therefore...Please convey to Mademoiselle the assurance of my regards." *By early.....