Bishop Isabel, Signed (83 results)

Hardcover. Condition: Very Good. 1st Edition. 64 pages. Hardcover, no jacket (as issued) in very good condition for age other than previous owner's name written inside front cover. Signed by Isabel Bishop on title page. Signed by Author(s).

Hardcover. Condition: Good. First Edition. (1964). 8vo. 1st edition. SIGNED by Bishop. Spotting to textblock edges extends into some leaves. Uneven toning, spotting, and light soiling along spine and edges of gently rubbed and faintly marked boards with light bumping, scraping, and wear to edges, forecorners, and spine ends with slight exposure to top rear forecorner. Approx. 2in. long closed tear to top of front joint. G. Author.

Hardcover. First edition. 63 pages. 23.5 x 15.5 cm. Monograph No.2 in the series: American Graphic Artists of the Twentieth Century. 77 illustrations, signed in blue ink by Isabel Bishop on free front endpaper. Illustrated cream boards. Fine in slightly nicked original glassine overwrapper.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Good. First Edition. First Edition. Octavo, original illustrated white paper over boards, glassine dustjacket, illustrations throughout, signed by author on front free endpaper. Monograph by American artist Isabel Bishop. Near Fine, light shelf wear, previous owner's signature on title page, in Good dustjacket, several large chips, time-toned. Signed.

Paper Boards. Condition: NVG. Dust Jacket Condition: Poor. First Edition. Book has lightly soiled covers, interior foxing. Glassine wrapper is missing approx. 40% of the back cover and spine. Signed by the Artist of the front fep. Signed by Artist. Book.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Foxing/staining to top fore-edge; light staining to front DJ; Signed by the artist on half title page; 11.7 X 10.9 X 1.4 inches; 181 pages; Signed by Artist.

Hardcover. Condition: Good Plus. Dust Jacket Condition: Good Plus. Isabel Bishop (illustrator). First Edition. New York: Abrams, 1975. Excellent book on this artist, 182 , pages in bright clean condition just slight yellowing to extreme edges of pages, many colour and B/w illustrations plus very informative text. Slight fade to edges of boards, dustwrapper is also bright and clean with a couple of small closed tears longest just over 2 inches, slight fade to spine and front cover. SIGNED by ISABEL BISHOP on half title page. HEAVY BOOK 2.2 Kg with packing EXTRA POSTAGE REQUIRED FOR OVERSEAS. a very nice copy SEE IMAGE. DETAILED IMAGES AVAILABLE ON REQUEST. Signed by Artist. First Edition. Cloth Covered Boards. Good Plus/Good Plus. Illus. by Isabel Bishop. 12 x 11 Inches. Hardcover.

Hardcover. Condition: Very good+ condition. Dust Jacket Condition: Very good condition (DJ). First Edition. 181 pages of text including a bibliography and an index. Hardcover binding with minimal sunning to top edge. Signed by the artist on the half-title page with no further inscription. Unclipped dustjacket slightly to moderately sunned on spine, with minor shelfwear and soiling; protected in archival mylar. Contains 171 illustrations, including 50 full color plates, some of which are fold-out. The text is clean and unmarked. First edition. Size: Oblong quarto (4to). Signed by Author(s). Book.

Oversized Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. LIMITED EDITION. Tall square 8vo. Limited ed. 1/2500. SIGNED on bookplate. Loosening to spine. Slight edgewear to cloth binding with light fraying to spine ends and forecorners. Light bumping to spine ends and foreconres. Slight toning to cloth binding along edges. Overopening to front and rear hinges. Edgewear to d.j. with bumping to spine ends and forecorners. Tear to lower front foredge. Slight rubbing and toning to d.j. Small tears to upper forecorners. VG/V. Author.

Cloth. Condition: Fine. Dust Jacket Condition: Very good. Limited first edition. Hardcover cloth (olive) over boards with d/j. Small 4to. 221 pp. Illustrated with 151 b/w and full colour plates on semi-glass paper stock. Limited edition of 2500 copies. Signed and inscribed by the author on the title page. Title and publisher stamped in green on spine. Book is clean with some slight yellowing to the edges. Binding is strong and square. Dustjacket has some slight chipping at the top of the spine, and a little wear along the head. Includes the following ephemera: postcard titled "Isabel Bishop Drawing Paintings" from Midtown Galleries (NYC) dated 1985, an advertising pamphlet from Midtown Galleries to an artist's reception for "Isabel Bishop Early Drawings" dated 1987, a press release announcing the 'Isabel Bishop Early Drawings" show at Midtown Galleries dated 1986, a pamphlet catalogue titled "Isabel Bishop: Etchings and Aquatints" produced by Associated American Artists dated 1981,Âan undated price list from Midtown Galleries, and an invitation card from The National Museum of Women in the Arts to an Isabel Bishop exhibition dated 1996.

hardcover. Condition: fine. Dust Jacket Condition: fine. Bishop, Isabel (illustrator). First. With 171 illustrations including 50 in full color, some folding. Oblong 4to, blue cloth, d.w. New York: Abrams, (1975). First edition. A fine copy in a fine dust wrapper. Inscribed by the author on the fly-leaf.

Hardcover. Condition: Very Good +. Limited Edition. SIGNED by Felicia Meyer. 60pp. Slim octavo [24 cm] Black cloth over boards with silver lettering on the backstrip and front board. Very subtle internal toning. Gallery exhibition brochure for artist laid in. Limited edition with etched frontis by his artist wife Felicia Meyer. Felicia Meyer has signed the frontispiece "Reginald Marsh" with her initials in parentheses. This copy is out of sequence (not numbered, and with no reference to limitation).

Hardcover. Condition: Very good. Dust Jacket Condition: Fair. Michael Rolston (Photograph of Isabel Bishop) (illustrator). Presumed First Edition, First printing. The format is approximately 6.25 inches by 9.25 inches. 63, [1] pages. Illustrated front cover. Illustrations (one in color). Chronology. Awards and Honors. One-Man Exhibitions. Graphic Works in Public Collections. Selected Bibliography. Signed by Isabel Bishop on the second fep. The glacine dust wrapper has a large tear in front. This is Monograph No. 2 in the series American Graphic Artists of the Twentieth Century. Una Johnson (1905 April 28, 1997) was an American curator and art historian. She was the head curator of prints and drawings at the Brooklyn Museum for more than 25 years. In 1936 Johnson became assistant curator of prints and drawings at the Brooklyn Museum. In 1937, she oversaw the purchase of a complete set of Francisco Goya's Caprichos print series. In 1941 she was promoted to the Curator position, which she would hold for the next 28 years. Johnson curated many major exhibitions for the Brooklyn Museum, including the first exhibition of the work of art dealer and publisher Ambroise Vollard, the first exhibition of Edvard Munch prints in the United States, the internationally recognized survey American Woodcuts 1670-1950, and New Expressions in Fine Printmaking. In 1947, she curated the Brooklyn Museum's first National Print Exhibition. During her tenure, the Brooklyn Museum made important acquisitions for its print collection, including Daumier, a collection of Japanese prints, and many contemporary European works. She published numerous books and monographs about printmaking, focusing on artists like Georges Rouault, Isabel Bishop, and Adja Yunkers. Isabel Bishop (March 3, 1902 February 19, 1988) was an American painter and graphic artist. Bishop studied under Kenneth Hayes Miller at the Art Students League of New York, where she would later become an instructor. She was most notable for her scenes of everyday life in Manhattan, as a member of the loosely-defined 'Fourteenth Street School' of artists, grouped in that precinct. Union Square features prominently in her work, which mainly depicts female figures. Bishop's paintings won the American Academy of Arts and Letters Award, among other distinctions. Bishop began her art education at the age of 12 in a Saturday morning life drawing class at the John Wicker Art School in Detroit. In 1918, at the age of 15, Bishop graduated high school and began art studies at John Wicker's art school in Detroit, Michigan. She later moved to New York City to study illustration at the New York School of Applied Design for Women. After two years there she shifted from illustration to painting, and attended the Art Students League for four years until 1924. It was there that she studied with Guy Pène du Bois and with Kenneth Hayes Miller, from whom she adapted a technique which owed much to baroque Flemish painting. In addition, she learned from other early modernists including Max Weber and Robert Henri. During the early 1920s she also studied and painted in Woodstock, New York. In 1963, she went to Yale University School of Fine Arts, New Haven. For the first time that she taught at The Art Students League in New York, she was the only full time woman teacher in that school. Throughout the 1920s and 1930s she developed a realist style of painting, primarily depicting women in their daily routine on the streets of Manhattan. Her work was greatly influenced by Peter Paul Rubens and other Dutch and Flemish painters that she had discovered during trips to Europe. In 1932, Bishop began showing her work frequently at the newly opened Midtown Galleries, where her work would be represented throughout her career. Bishop takes inspiration from Rubens by adding a light ochre-ish tone to all her works, allowing for the painting to be rendered in any way. In 1934, Bishop married Dr. Harold G. Wolff, a neurologist, and moved to Riverdale New York. However, she continued to work in a loft studio near Union Square at 9 West Fourteenth St, which she continued to use until 1984. She bec.

Quarto. (13 1/4 x 10 inches). Portfolio with complete text and 8 etchings, printed by Stephen Sholinsky at Stem Graphics, New York, and published by Associated American Artists, New York. Each etching signed by Bishop and numbered I/VII. Publisher's gray clamshell cloth box, upper cover and spine lettered in gilt. One of seven sets of artist's proofs, with each of the 8 etchings signed and numbered by Bishop, a groundbreaking twentieth-century social realist. Upon packing up her Union Square studio in 1983, Bishop discovered a small group of original copper printing plates from 1930-1959 which had only been used for one or two proofs and had otherwise not been printed. As the colophon relates: "Until this printing, only proofs of these images were ever printed. This printing was done on Rives Heavyweight paper by Stephen Sholinsky of Stem Graphics, New York . . . The total number of impressions pulled from each plate is 60." There is a regular edition of 50, seven artist's proofs (as the present), a Whitney proof in the collection of the Whitney Museum of Art, a "bon à tirer" suite, and a printer's proof set. Following production of the work the original copper plates were cancelled. A pioneering social realist, Isabel Bishop documented urban life in New York City, especially around Union Square where she long kept her studio. Bishop taught at the Art Students League of New York, where she was the only woman teacher. As a writer for the National Museum for Women in the Arts explains, "After moving to Union Square in 1926, she became enamored of the area and its inhabitants. Shop girls, straphangers, laborers, and derelicts became her models as they traversed. By capturing their motions and gestures in prints, Bishop produced the walking figures for which she is best known." The eight etching plates, each signed by Bishop and numbered I/VII, comprise: "Sleeping Man" (1930); "Delayed Departure" (1935); "Putting on the Jacket" (1945); "Park Bench" (1946); "In the Square" (1949); "Sweet Sixteen" (1954); "Lunch Break" (1956); "Girl at Soda Fountain" (1959).

SYLVAN COLE'S OWN COMPLETE SET OF THE FOUR BISHOP PORTFOLIOS HE PUBLISHED (AS DIRECTOR OF ASSOCIATED AMERICAN ARTISTS AND LATER AS OWNER OF THE SYLVAN COLE GALLERY), WITH A TOTAL OF 32 ORIGINAL ETCHINGS BY ISABEL BISHOP, 16 SIGNED IN PENCIL AND 16 WITH A STAMPED SIGNATURE. Cole, the dean of American print dealers, was a close friend of Bishop's and supervised the compilation of Teller's catalogue raisonne of her prints. He kept these portfolios in his private collection until his death. ***** Four portfolios, each containing eight original etchings by Bishop, each in its own folder. Each portfolio is from a total edition of 60, all printed on fine Rives wove paper. ***** The first portfolio (1981) is copy number 2 (signed by Bishop under the justification), copy number 1 having been given to the artist. ***** The second portfolio (1985) is one of only 7 sets of artist's proofs, with a signed presentation inscription from the artist to Sylvan Cole. ***** The third and fourth portfolios (1989) are the unique sets of bons à tirer (BATs). Since the BATs must be printed before the prints can be editioned, THESE ARE THE VERY FIRST PROOFS PRINTED. ***** Folio. Loose as issued. FINE AND BRIGHT, with no defects. In the original cloth clamshell cases (a little trivial wear to two of the cases). ***** IMPORTANT NOTE: During March, 2006, hundreds of prints represented as being from "the Sylvan Cole collection" were sold at public auction. In fact, ALL of these items were from his leftover gallery inventory, not his private collection. As far as I know, the few items I offer from Sylvan's collection are the ONLY items anywhere on the market which are actually from his private collection (which he kept in his apartment, not his gallery). I acquired them all directly from Sylvan (my uncle), mainly in spring, 2005.

Bishop, Isabel (illustrator). Bishop, Isabel. REACHING FOR THE COAT SLEEVE. T.32. Etching, 1943. 5 7/8 x 4 inches; 150 x 100 mm. Signed in pencil, but not numbered, and with the embossed chop of the printer, Stephen Sholinsky. A proof aside from the edition of 25 published in 1981 by AAA in the portfolio EIGHT ETCHINGS II. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. PUTTING ON THE COAT. Teller 31. Etching 1943. Edition of 25 printed in 1981 (there was no earlier edition, only a few proof printed earlier by the artist). 5 7/8 x 3 /7/8 inches; 150 x 98 mm. Numbered xiv/xxv and signed in pencil. With the embossed stamp of the printer Stephen Sholinsky, l.r. Excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. THREE MEN ON FOURTEENTH STREET. Teller 4A. Etching, 1927-31. Edition of 25 published 1985 (there were a few proofs printed earlier by the artist from a proposed edition of 30 or 40). 4 1/2 x 3 inches; 113 x 77 mm. Signed and numbered xxiii/xxv in pencil. Printed on Rives paper by Stephen Sholinsky, with his embossed monogram lower right. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. INTERLUDE. Teller 48. Etching 1952. Edition of 25, printed in 1981 (there were a few proof printed earlier by the artist). 7 3/8 x 4 3/8 inches; 186 x 112 mm. Numbered xviii/xxv and signed in pencil. With the embossed stamp of the printer Stephen Sholinsky, l.r. Excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. STUDENT AND TWO GIRLS. T. 70. Etching, 1972. 6 7/8 x 5 3/8 inches; 173 x 137 mm. Signed in pencil. Printer's proof aside from the edition of ten (nos. 21/30 - 30/30, published in 1981 to complete the edition of 30 (nos. 1/30-20/20 were printed by the artist). Printed by Stephen Sholinsky. with his embossed chop, lower right. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. LUNCH BREAK. T. 50A. Etching, 1956. 5 x 3 inches; 125 x 77 mm. Signed in pencil, but not numbered, and with the embossed chop of the printer, Stephen Sholinsky. A proof aside from the edition of 50 published in 1985 by Sylvan Cole in the portfolio EIGHT ETCHINGS 1930-1959. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. STUDENTS. T.67. Etching and aquatint, 1969 (printed 1981). 6 7/8 x 4 7/8 inches; 175 x 125 mm. Edition of 30. Signed in pencil, numbered 25/30, and with the embossed monogram of the printer Steven Sholinsky. Bishop printed numbers 1/30-15/30 of the projected edition, between the time of the plate's creation in 1969 and Sholinsky printed the balance of the edition (16/30-30/30) in 1981. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. NUDE. Teller 56. Etching 1961. Edition of 25, printed in 1981 (there were a few proof printed earlier by the artist). 3 1/2 X 6; 88 x 150 mm. Numbered X/XXV and signed in pencil. With the embossed stamp of the printer Stephen Sholinsky, l.r. Excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. DEPARTURE NO. 2. T.23A. Etching, 1939. 5 7/8 x 4 inches; 150 x 100 mm. Signed in pencil, and with the embossed chop of the printed, Stephen Sholinsky. There was no edition of this print, but proofs were printed in 1985 "for catalogue purposes (per Teller). In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. PUTTING ON THE COAT. T.31. Etching, 1943. 5 7/8 x 3 7/8 inches; 150 x 98 mm. Signed in pencil, but not numbered, and with the embossed chop of the printer, Stephen Sholinsky. A proof aside from the edition of 25 published in 1981 by AAA in the portfolio EIGHT ETCHINGS II. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. GIRLS AT COUNTER. Teller 81. Etching and aquatint, 1982. Edition of 75, printed, by on Arches paper by Stephen Sholinsky, published in 1984. Numbered 58/75 and signed in pencil. With the printer's embossed monogram. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. THE COATS. T. 61. Etching and aquatint, 1966. 7 1/2 x 7 7/8 inches; 190 x 198 mm. Signed in pencil, but not numbered, and with the embossed chop of the printer, Stephen Sholinsky. A proof aside from the 10 artists proofs printed in 1981. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. MAN PULLING UP HIS SOCK. T38. Etching, 1946 (proofs only until Edition of 25, 1981). 4 x 3 inches; 100 x 75 mm. Numbered xi/xxv, and signed in pencil, and with the printer Sholinsky's embossed chop in the lower margin. Excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. SEATED WOMAN WITH HAT. T. 44. Engraving, 1949 (edition of 50, 1981). 5 7/8 x 4 inches; 150 x 100 mm. Numbered and signed in pencil and with the embossed chop of the printer, Stephen Sholinsky. In excellent condition.

Bishop, Isabel (illustrator). Bishop, Isabel. THREE MEN ON FOURTEENTH STREET. Teller 4A. Etching, 1927-31. Edition of 25 published 1985 (there were a few proofs printed earlier by the artist from a proposed edition of 30 or 40). 4 1/2 x 3 inches; 113 x 77 mm. Signed and numbered xviii/xxv in pencil. Printed on Rives paper by Stephen Sholinsky, with his embossed monogram lower right. In excellent condition.