Gropper William, Signed (38 results)

Hardcover. Condition: Good-. No Jacket. William Gropper (illustrator). First Edition. [277]pp [complete joint separation inside front cover, so covers detached from binding; edge wear to dust jacket] ---- Inscribed and signed by Sam Liptzin on front free endpaper ---- Size: 8vo - over 7¾" - 9¾" tall. Inscribed and Signed By the Author. Book.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Good. 1st Edition. 133 Pp. Red Cloth, Gilt. First Edition. Near Fine, Gilt Bright. Dust Jacket Worn, Small Chips And Tears. Inscribed By The Author To Social Artist William Gropper And His Wife. Emjo Basshe (Born Emmanuel Iode Abarbanel Basshe Or Emanuel Joseph Jochelman (1898 -1939) Was A Lithuanian-Born Jewish American Playwright Of Spanish Descent, A Recipient Of A 1931 Guggenheim Fellowship, And One Of The Initial Members In 1935 Of The Communist Party-Founded League Of American Writers. He Immigrated To The United States In 1912, Graduating From Columbia University In 1919. He Began His Theatrical Career With The Provincetown Playhouse And, In 1920, Went To Massachusetts, Working With Boston's Peabody Playhouse, Then Chelsea Arts Theatre And Cambridge's Castle Square Players, All During 1920-22. Returning To Provincetown Playhouse, He Remained Until The Premiere In 1925 Of His Play, Adam Solitaire, Directed By Stanley Howlett, And Featuring 19-Year-Old John Huston. Basshe Then Moved To Pennsylvania, Becoming Director Of The Stage Repertory Of Philadelphia, Where His Three Short Plays, The Bitter Fantasy, The Star And Soil Were Presented. Again Returning To New York, Basshe Co-Founded, With Four Others, The New Playwrights Theatre, Initially Finding A Temporary Home At The 52Nd Street Theatre, Where It Premiered, On March 9, 1927, His New Play, Earth, Directed By Russell Wright And Hemsley Winfield. On November 29, 1927, Basshe's New Play, Centuries, Set Among Jewish Residents Of A New York City Tenement House, Had Its Premiere. Directed By The Author, The Production Had A Cast Of 27, Including Future Film Star Franchot Tone, And Lasted For 39 Performances. Continuing As A Director, Basshe Next Helmed The Playhouse's Production Of Upton Sinclair's Prison-Based Drama, Singing Jailbirds, Which Featured Future Character Star, Lionel Stander, As One Of The Prisoners. Premiering On December 6, 1928, The Play Lasted 79 Performances. Provincetown Playhouse Dissolved In April 1929 And Basshe Pursued His Career As A Broadway Director At Other Venues, Co-Supervising North Carolina Playwright Paul Green's Musical Drama, Roll, Sweet Chariot, Set, According To Its Description, In "A Negro Village Somewhere In The South". The Production Premiered At The Cort Theatre On October 2, 1934 And Lasted 7 Performances. Another Green Play Directed By Basshe, Turpentine, Opened June 26, 1936 And Closed In August, Following 62 Performances. On May 13, A Month Before The Premiere Of Turpentine, Basshe's Anti-War Satire, The Snickering Horses, With A Cast Of 34, Was Staged At Daly's 63Rd Street Theatre As The Concluding Presentation Of Works Progress Administration's Federal Theatre Project Experimental Theatre Three-Performance Cycle Of Three One-Act Plays, With The Other Two Being George Bernard Shaw's Great Catherine: Whom Glory Still Adores And, Condensed Into One Act By Alfred Saxe, Molière's The Miser. In January 1939, Basshe Staged A Production Of Three One-Act Plays: Paul Vincent Carroll's The Coggerers (Later Renamed The Conspirators), Jean Giraudoux's Mr. Banks Of Birmingham And Josephinna Niggli's The Red Velvet Goat, Which Opened At The Hudson Theatre On January 20, 1939 And Closed The Following Day. The Sf Encuclopedia Says That In General His Plays Can Be Understood As Agitprop, And Seem To Have Been Particular Successful At The Heart Of The Great Depression, Before The New Deal Began To Rescue America From The Effects Of Unmonitored Capitalism. Of Sf Interest Is Doomsday Circus: A Dramatic Chronicle (1938), Seemingly Unproduced During His Lifetime, An Expressionist, Hortatory Burlesque With Some Similarities To Elmer Rice's The Adding Machine, In Which The Coming Near Future Ownership Of The World By A Single Multi-Tentacled Corporation Is Rendered As A Circus. Inscribed by Author(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. (Xiv), 13 Pp. Illustrated Wrappers, In Similar Illustrated Dust Jacket. First Edition. Slight Wear, But Faint Damp Staining Along Top Edges Of Book, Pages And Dust Jacket. Inscribed By The Author In 1947 To American Social Artist William Gropper And His Wife Sophie, "Two More Internationalists", And Dated 1 May 1947. Charles Fenn (1907-2004) Was Born In England And Emigrated To The U.S.A. As A Young Man, Eventually Becoming A Naturalized U.S. Citizen At The Time Of His Marriage. He Began Working As A Freelance Photographer, And In 1941 Was Assigned By A Magazine Called Friday To Cover The Long-Running War In China, Which Had Been Invaded By Japan Several Years Previously. Friday Folded While Fenn Was In China; He Then Began Working For The Associated Press, Filing Photographs From China And Subsequently Also From Burma As The War Widened In Scope. On His Return To The Us In 1943, Fenn Became An Officer In The U.S. Marine Corps, And Was Immediately Assigned To The Office Of Strategic Services (Oss). Back In China, He Was Assigned To The Air Ground Aid Services (Agas), Where He Engaged In The Rescue Of Downed Pilots And Liaison With Prisoners Of War In Indo-China And Adjacent Areas Of China. His Primary Task, However, Was To Gather Intelligence Regarding, Among Other Things, The Political Orientation Of The Inhabitants Of What Was Then French Indo-China. Following The End Of The War, His Marriage Had Ended, So He Went To Hong Kong Where He Engaged In Several Different Business Ventures. After Two Years He Moved Back To London, His Childhood Home, Where He Attempted To Become A Successful Writer. After Marrying His Second Wife, Fenn Left London Once Again During The Mid-1970S, Moving To Schull, West Cork In The Republic Of Ireland Where He Spent The Rest Of His Life. He Wrote A Memoir Of His Oss Years. All Of Which Shows The Old Truth, That Independent Writers Make Good Espionage Agents, At Least Before The Current Crop Who Are Unable To Write Much Besides "I Am A Good Boy" Or I Am A Good Girl" And Childish Fantasy Like The Vietnam Intelligence Reports, The Libyan Intelligence Reports, The Iraqi Nuclear Intelligence Reports, The Afghani Invasion Intelligence Reports, The Steele Dossier, And Unending Crap Besides. Oh, Let's Add The Pre-1989 Reports About The Mighty Russian State. Inscribed by Author(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. Original Color Print; B/W Illustrations (illustrator). 1st Edition. 96 Pp. Black Cloth Spine, Gilt, White Boards. Limited Edition With Signed Color Print Bound In, #26 Of 50 Copies. Also Inscribed By The Artist To Social Artist William Gropper "To Bill Gropper Wonderful Artist And My Friend Anto Refregier". Inscribed by Author(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: Poor. Plates, Drawings And Other Illustrations In Text (illustrator). 1st Edition. Xvii, 225 Pp. Black Cloth Lettered In Red. First Printing With 1932 Date On Title Page. Lightly Used, Would Be Near Fine But Some Water Stains On Front Endpapers (Only) With Red-Offsetting From The Red Dust Jacket. Dust Jacket Itself Is Worn And With Some Fading Or Damp Staining, Spine Panel Almost Entirely Chipped Away But No Loss Of Text On Other Panels. Inscribed To Social Artist William Gropper, Whose Work Is Illustrated In The Book, "To Bill Gropper Design Conscious Artist Ralph M Pearson October 20, 1932." Ralph M. Pearson (1883-1958) Was An Accomplished Etcher At A Time When The Art Was Just Emerging As A Popular Medium In The United States. Pearson's Prints Show A Wide Variety Of Subjects Including Landscapes, Industrial Scenes, Indian Pueblos, And Portraits. The Images Are Reveal A Sophisticated Design Sense, Clearly Employing Compositional Strategies Of Artists Such As Arthur Wesley Dow Which Emphasized The Inter-Relationship Of Line, Mass, And Value In Two Dimensions. Pearson Studied At The Art Institute Of Chicago Under John Vanderpoel. Later, In New York Pearson "Found The First School Of Modern Art In This Country" Led By Hugo Robus. In His Words He "Inaugurated A Painful Unlearning And Relearning Process Of Some Eight Years' Duration Which Was A Cheap Enough Price To Pay For A Basic Reorientation." He Married Margaret Hale (The Daughter Of Classics Professor William Gardner Hale) In June Of 1916. In 1919 He Settled In The Foothills Of The Taos Mountains. Shortly Thereafter He Started An Unlikely Combination Business Venture Featuring Hogs And Greeting Cards. Apparently, He Was Better At Etching Than Pig Farming And Soon The Etching Sales Were Paying For The Pigs Upkeep. By 1920 He Had Given Up On The Pig Adventure And Concentrated On His Greeting Card Business Which Was Doing Quite Well. He Bought A "Big New Press" And Enlarged His Studio. By 1921 He Had Forty Different Vendors Selling His Cards In Cities Throughout The Country. Joseph O'Kane Foster, A Former Hearst Newspaper Reporter From Chicago, Had Moved To Taos And Soon Was Adding His Artistic And Literary Skills To The Enterprise. By 1923 Pearson Decided To Leave His Wife And Foster In Charge Of The Company And He Moved To California. The Company Name Was Changed To Vancil Foster Greeting Cards. Pearson And Hale Divorced. Foster Married Hale. They Closed The Business In 1928. In California Pearson Continued His Etching And Was Represented By The Stendahl Gallery In Los Angeles. His Best Know Work From This Period Was His "Cypress Grove" Of Monterey. For Pearson This Was His Final Break From The Representational Style Of His Youth. By 1928 He Had Remarried And Returned To New York To Start Another Career As An Educator, Art Critic And Author. He Taught For 10 Years At The New School For Social Research In New York. He Also Founded The Design Workshop, An Independent School, With Summer And Winter Classes, In Painting, Drawing And Critical Appreciation. These Classes, Planned As Condensed Courses, Gradually Evolved Into Teaching The Same Subjects By Mail. He Also Taught One-Year Stints At Utah State And At The University Of Texas In Austin. He Focused His Attention On Writing With Seven Books To His Credit As Well As Over 250 Magazine Articles. Pearson Was A Member Of The Chicago Society Of Etchers, The New York Society Of Etchers, California Art Club, California Society Of Etchers And The Brooklyn Society Of Etchers. He Exhibited Widely And Won Numerous Awards Including A Medal At The Panama-Pacific International Exposition. Inscribed by Author(s).

Hardcover. Condition: Near Fine. Photographs Throghout; Front Cover After Robert Rauschenberg (illustrator). 1st Edition. 72 Pp. Cloth, Front Cover Orange And Spine And Rear Cover Orange (Not Faded). Light Wear. Inscribed By The Author To Social Artist, Thanking Him For His Letter Discussing His Work Which Mondale Included In The Book; The Compliments Slip From Lerner Indicating A Publication Date Of June 1, 1972; The Publicity Sheet For The Book; The Note Indicating It Is A Complimentary Copy And Acknowledging His Art On P. 276; And The Art Books For Everyone Catalog. Artists Look At Politics About As Favorably As They Look At The Detailed Procedures Of Mass Production Of Sausages, And For Similar Reasons. Inscribed by Author(s).

Soft cover. Condition: Near Fine. 1st Edition. Large Format Soft Cover Catalog 10 1/4" X 8". Near Fine. Inscribed To Social Artist Wiliam Gropper And His Spouse: "To Bill & Sophie With Great Admiration For His Work And Thankful That You Are A Member Of The Aca Group. Herman. With All My Love To Sophie & Boill. Ella." Also, "To My Friend Bill Gropper- Nicolai Cikovsky 1959". Herman Baron Was The Founder Of The Aca Galleries (Also Known As American Contemporary Art And A.C.A. Gallery) In 1932 And Served As Its Director Until His Death In 1961. Inscribed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Near Fine. Photographs, Plates (illustrator). 1st Edition. 207 Pp. Illustrated Pink And Red Cloth. First Printing. Inscribed By The Author To Social Artist William Gropper And His Wife "With Warm Regards" And Dated In 1968; They Were The Author's Neighbors In Croton-On-Hudson Ny. Book Fine, No Wear Or Damage. Dust Jacket Lightly Used But With A Few Small Losses On Inside Of Front Flap Fold. George Biddle (1885 -1973) Was An American Painter, Muralist And Lithographer, Best Known For His Social Realism And Combat Art. A Childhood Friend Of President Franklin D. Roosevelt, He Played A Major Role In Establishing The Federal Art Project (1935-43), Which Employed Artists Under The Works Progress Administration.Born To An Established Philadelphia Family, Biddle Attended The Elite Groton School (Where He Was A Classmate Of Franklin D. Roosevelt). He Completed His Undergraduate Studies And Later Earned A Law Degree From Harvard (1908 And 1911, Respectively). He Passed His Bar Examination In Philadelphia. Biddle's Legal Career Was Short-Lived, However, And By The End Of 1911 He Had Left The United States To Study At The Académie Julian In Paris. In The Next Two Years He Studied At The Pennsylvania Academy Of The Fine Arts. Returning To Europe In 1914, Biddle Spent Time In Munich And Madrid, Studying Printmaking In The Spanish Capital, Before Trying His Hand At Impressionism In France. In 1917 Biddle Enlisted In The Army. In The Early Interwar Period Biddle Continued His Studies In Far-Flung Locations Such As Tahiti, Returned To France In 1924, And. Prior To His Mexican Travels, Biddle Had Returned To The United States In 1927 And Established A Printing Shop In New York, Where He "Began To Explore The Variety And Richness Of Technique And Expressionism Possible In Lithography", A Medium Which He Hoped Would "Popularize American Art By Making It Better Known To The American Public". He Was A Member Of The Society Of American Graphic Artists. In 1928 Went On A Sketching Trip Through Mexico With Diego Rivera. In The 1930S, Biddle Became A Champion Of Social Art And Strongly Advocated Government Funding For Artistic Endeavors. His Correspondence With His Former Classmate (And Recently Elected President) Franklin Roosevelt Contributed To The Establishment Of The Federal Art Project, An Arm Of The Works Progress Administration That Produced Several Hundred Thousand Pieces Of Publicly Funded Art. Biddle Himself Completed A Mural Titled The Tenement For The Justice Department Building In Washington, D.C. And Made Sketches Of The Opera Porgy And Bess During Its Late 1930S Tour (He Had Already Done The Illustrations For The Libretto In 1930). His Works Were Exhibited At The 1939 New York World's Fair. During These Years Biddle Also Wrote Several Books And Taught At The Colorado Springs Fine Arts Center. Biddle Was Hired In 1940, Along With Eight Other Prominent American Artists, To Document Dramatic Scenes And Characters During The Production Of The Film The Long Voyage Home, A Cinematic Adaptation Of Eugene O'neill's Plays. He Served As President Of The National Society Of Mural Painters From 1935 To 1936. During World War Ii, Biddle Was Appointed Chairman Of The United States Department Of War's Art Advisory Committee And Served To Recruit Artists To That Body. Biddle Himself Traveled Through Algeria, Tunisia, Sicily, And Italy With The 3Rd Infantry Division And Produced Works Documenting That Unit's Activities. He Wrote A Book On His War Travels: Artist At War Tunisia-Sicily-Italy, Viking Press, 1944. When The Art Advisory Committee Was Disbanded, He Produced Combat Art For Life Magazine.[In 1950, Biddle Was Appointed To The U.S. Commission Of Fine Arts, Serving Until 1951 And Again From 1953 To 1955. Biddle's Best Known Work Is In The Mural Society Freed Through Justice, Five Fresco Panels In Fifth-Floor Stairway Of The Robert F. Kennedy Department Of Justice Building In Washington, D.C., Produced Under The U.S. Treasury Department's Section Of Painting And Sculpture. Inscribed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 128 Pp. Grey Cloth Lettered In Black. First Printing. Fine In Fine Dust Jacket. Warmly Inscribed By The Artist To Social Artist William Gropper: "For Bill Gropper, With Love And Best Wishes And The Hope That We Will One Day Meet Again- Noel- March 1975". Noel Counihan (1913 -1986) Was An Australian Social Realist Painter, Printmaker, Cartoonist And Illustrator Active In The 1940S And 1950S In Melbourne. An Atheist, Communist, And Art Activist, Counihan Made Art In Response To The Politics And Social Hardships Of His Times. He Is Regarded As One Of Australia's Major Artists Of The 20Th Century. Counihan Was Born On 4 October 1913 In Albert Park, Then A Working-Class Suburb Of Melbourne. He Attended The St Paul's Cathedral, Melbourne Choir School (Closed In 1929), Then Caulfield Grammar School In 1928. He Studied Part-Time Under Charles Wheeler At The National Gallery Of Victoria Art School In Melbourne During 1930-31, Where He Met The Social Realists Herbert Mcclintock And Roy Dalgarno. Social Realism, The Belief That Art Should Reflect The Realities Of Society Under Capitalism, Was The Artistic Doctrine Of The Communist Party Of Australia, And In 1931 Counihan Became A Confirmed Atheist And A Member Of The Party. He Helped Found The Workers Art Guild, And Began Printmaking, Producing Linocuts And Lithographs For Communist Magazine Covers And Pamphlets As Well As Designing Banners. During The Great Depression Counihan Participated In The "Free Speech" Fights In Brunswick, Organized By The Communist Party In Response To A Victorian State Government Law Banning "Subversive" Gatherings. Dozens Of Members Of The Unemployed Workers Movement Were Arrested, And Unemployed Meetings At The Intersection Of Phoenix Street And Sydney Road, Brunswick Were Dispersed By Police. As Part Of This Fight, A Young Counihan Addressed A Crowd From A Locked Cage On Top A Truck. Police Had To Cut Him Out, To The Jeers Of The Crowd, As He Continued Speaking. From 1934 Counihan Worked As A Cartoonist For Various Publications, Including The Bulletin And The Communist Party's Paper, The Guardian From 1945 To 1949 And Again From 1952 To 1958. He Spent Extended Periods In Hospital With Tuberculosis During The Second World War. With The Encouragement Of The Artist Yosl Bergner, He Began To Paint. He Developed A Personal Style Based On The Social Realist Approach, Producing Compassionate Images Of Workers And Their Working Lives. Counihan Maintained That The Artist Had A Duty To "Gather Information From The Political Developments Of The Time." His 1955 Painting On Parliament Steps Won The George Crouch Memorial Prize In 1956. Counihan Remained Loyal To The Communist Party During Its Various Splits And Despite Its Declining Support In The 1970S And 1980S. His 1973 Posthumous Portrait Of Hugh Gemmell Lamb-Smith - Who Had Taught Counihan At Caulfield Grammar And, As Well, Had Encouraged His Artistic Endeavors Whilst He Was There - Was Largely Painted From Memory. In 1979, Counihan Contributed The Entry On Footballer Roy Cazaly To Volume 7 Of The Australian Dictionary Of Biography. The Counihan Gallery, Managed By City Of Moreland Council, Is Named In His Honor. A Short Distance Away From The Gallery, Outside The Brunswick Mechanics Institute On Sydney Road, A Free Speech Memorial Has Been Built By Artist Simon Perry To Commemorate The Free Speech Fights By The Unemployed In 1933 And Noel Counihan's Part In Them. Inscribed by Illustrator(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Good. Photographs (illustrator). 1st Edition. Ix, 209 Pp. Yellow Cloth Lettered In Black. First Printing, 1946 Date On Title And Copyright Pages. Inscribed At Length From Fritchman To Social Artist William Gropper And His Family, Undated, At Boston. Light Usage. Dust Jacket Priced $2.00, 1 1/2" X 1" Hole Near Bottom Of Front Panel, Without Loss Of Lettering. The Flaps Contain An Extremely Favorable Review By Dilworth Lupton In The Christian Register, "I Believe This Handbook Of Religious Liberalism To Be The Most Graphic And Stirring Ever Published." Very Scarce, Present In Many Institutional Collections Internationally But Scarce In The Trade. Stephen Fritchman Served As The Minister Of First Unitarian From 1948 To 1969. During His Tenure, The Church Supported A Number Of Progressive Causes. In The 1950S And 60S, The Church Took Strong Stands Against The Korean And Vietnam Wars. On February 21, 1954, The First Unitarian Congregation Voted To Refuse To Sign A "Loyalty Oath" To The United States That The State Of California Required From Non-Profits As A Condition Of Keeping Their Non-Profit Status. The Church Issued Released A Press Statement Saying, "While Unitarians Yield To None In The Degree Of Their Loyalty To This Country, They Also Yield To None In Their Determination To Protect Religious, Philosophical And Political Freedom For Every American." The Church Sued The City Of Los Angeles In An Effort To Overturn The Law And In 1958, The U.S. Supreme Court Ruled In Favor First Unitarian, Invalidating The Law. Fritchman's And The Church's Strong Defense Of Civil Liberties And The Freedom Of Speech Help Build The Church's Relationship With Los Angeles Liberals And Leftists, Including The Motion Picture Artists Called The "Hollywood Ten" That Were Accused Of Having Communist Ties Or Sympathies. Over Its Many Years First Unitarian Has Hosted A Number Of Famous Speakers Including W.E.B. Du Bois, Thomas Mann, Linus Pauling, Pete Seeger, Paul Robeson, Jane Fonda, And Rita Moreno. Fritchman Was Known As A Warm, Charismatic Speaker With A Sense Of Humor. He Cared Deeply About Social Justice Issues And The Importance Of A Liberal Church As A Religious Institution. Under His Ministry, First Unitarian Grew In Membership To Over 1,200 With Weekly Attendance Of Over 400. The Church Was Also The Home Of German Writer And Nobel Prize Winner Thomas Mann. Inscribed by Author(s).

Soft cover. Condition: Near Fine. Annotated Illustrations Throughout (illustrator). 1st Edition. 96 Pp. Card Covers Printed Entirely In Red; Paper Loss Along Fore Edges Of Rear Cover (Surface Only And Not Affecting The Lettering) And Last Two Leaves (A Few Small Holes Not Affecting Lettering). Signed By Eight Prominent Figures At The Worker (The Daily Worker) In Those Years; From The Library Of William Gropper. Signed by Author(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. Risque Graphic Novel (illustrator). First English Language Edition. Yellow Cloth Lettered In Black. First (And Only) Printing. Near Fine. Dust Jacket Priced $1.49, Dusty, Worn, Tears At Corners With Minute Losses. Inscribed From The Translator To Social Artist And Fellow John Reed Club Member William Gropper "For Gropper May This Help Put Those Buggers In Their Place! Keene Wallis." Marcel Arnac , Whose Real Name Was Marcel Fernand Louis Bodereau (1886-1931) Was A Writer, Illustrator And Humorist, One Of The Precursors Of Comics In The Form Of Graphic Novels . He Contributed To Numerous Newspapers 1903-, And There Are Translations Into German And English, Such As Private Memoirs Of A Profiter. He Also Had A Career As An Advertising Designer And Is The Screenwriter Of Three Short Films In The Series Directed By Georges Monca, Whose Hero Is The Comic Character Of Rigadin Embodied On The Screen By Charles Prince . He Died On August 24 , 1931, Killed By A Shard Of Cast Iron Which Fell On His House Following The Explosion Of The Suresnes Water Lifting Plant. Keene Wallis Was An Author And A Prolific Translator From The French, Primarily Of Poetry And Literature Related To Sexuality And Eroticism. In October 1929, The John Reed Club Was Founded By Eight Staff Members Of The New Masses Magazine To Support Leftist And Marxist Artists And Writers. They Included: Mike Gold, Walt Carmon, William Gropper, Keene Wallis, Hugo Gellert, Morris Pass, And Joseph Pass. The John Reed Clubs (1929-1935), Often Referred To As John Reed Club Or Jrc, Were An American Federation Of Local Organizations Targeted Towards Marxist Writers, Artists, And Intellectuals, Named After The American Journalist And Activist John Reed. According To Alan M. Wald, The John Reed Clubs Were Not Founded By The Communist Party. New Masses Managing Editor Walt Carmon Became Frustrated With A Group Of Young Writers Who Were Hanging Out In The Office And Getting In His Way. He Told Them To "Go Out And Form A Club" And "Call It The John Reed Club." The John Reed Clubs Would Be A Constant Source Of Drama Within The New Masses Family, And Members Of The Clubs Would Eventually Found The Partisan Review, Which Became A Main Competitor To The New Masses. [Businessmen Are Easy Targets For The People Who Never Operate Their Own Business; But The Great Mass Of War Profiteers Are Actually The Morons, Usually Lawyers, Who Go Into Politics And Mindlessly Support Wars Rather Than Find More Constructive Work To Do Let Alone Trying To Solve The Real Issues That Were Critical To The Start Of The Hostilities. Inscribed by Author(s).

Wrappers. Condition: Very Good. LIMITED EDITION. (1959). (New York). 4to. LIMITED EDITION, this copy SIGNED on the front wrap by contributor and children's book illustrator Leo Lionni. Loose-leaf portfolio of reproductions of original drawings, housed in in a folder. Mild edgewear to folder. VG in wrappers in VG folder.

272p., first edition, illus., dj slightly shelfworn, hint of foxing on top-edge of text block, board corners minorly bumped, else in very good condition. Signed and inscribed by the author to a friend.

hardcover. Condition: near fine. GROPPER, William (illustrator). First. An Exhibition Catalogue. 112 illustrations, including 8 in color. 128 pages. Small 4to, pictorial cloth, board slipcase. Los Angeles: The Ward Ritchie Press, in conjunction with the Joe and Emily Lowe Art Gallery of the University of Miami, 1968. First trade edition. A near fine copy in very good slipcase. Presentation copy signed by Gropper on the frontis portrait.

Soft cover. Condition: Very Good. No Jacket. 1st Edition. 4to softcover volume with minor edge wear very good +. Signed by Gropper on the front cover. Includes a invite to the first show. Inscribed by Author(s).

Hardcover. Condition: Very Good. 1st Edition. 191 Pp. Green Boards. First Edition. Inscribed By The Author 1 19/1964 To Social Artist William Gropper, Who Illustrated A Book For Seltzer. Would Be Near Fine But Plasticized Cloth Covering The Boards Has Dried And Has Just Cracked Along The Entire Front Gutter; Binding Secure, But, The Crack Is Clear. Inscribed by Author(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. 200 Pp. Beige Cloth. First German Language Edition, 1956. Lightly Used Book In Lightly Worn Dust Jacket. Inscribed "With Friendship And Esteem." From Hogarth To Social Artist William Gropper. Paul Hogarth (1917 - 2001) Was An English Artist And Illustrator. He Is Best Known For The Cover Drawings That He Prepared In The 1980S For The Penguin Edition Of Graham Greene's Books. Paul Hogarth Was Born In Kendal, Westmorland, And Aged 6 Moved In 1923 With His Family To Manchester. He Attended The Manchester School Of Art From 1934 To 1936, Where He Became Involved In The Artists' International Association And The Communist Party Of Great Britain. After 1936 He Attended Saint Martin's School Of Art In London, And Drove Lorries In The Spanish Civil War For The International Brigade. Paul Hogarth Was A Painter With A Talent For Illustration And Reportage, Which Was Allied To His Love Of Travel. This Led Him To Produce Drawings And Watercolors Recording Events And Places All Over The World. As An Illustrator He Studied Under James Boswell, And Worked With A Number Of Eminent Authors, Including Robert Graves, Graham Greene, Brendan Behan, Lawrence Durrell, And William Golding. He Illustrated The New Penguin Shakespeare Series Of Paperbacks In The 1970S, And His Work Can Also Be Seen On The Cover Of John Wyndham's 'The Midwich Cuckoos' (1964, Penguin ). He Was Elected An Associate Member Of The Royal Academy In 1974, A Full Member In 1984; And Was Awarded The Obe In 1989. Signed by Illustrator(s).

hardcover. Condition: very good(+). Gropper, William (illustrator). Profusely illustrated in black & white. Slim 4to, pictorial linen (toned to tan, spine toned small damp stain on upper spine). New York: ACA Gallery Publications, 1938. A very good(+) copy. Presentation copy signed " from Gropper" on the fly leaf.

hardcover. Condition: very good. Gropper, WIlliam (illustrator). First. Profusely illustrated in black & white. Slim 4to, pictorial linen spine darkened, worn at corners. New York; ACA Gallery Publications, 1938. First Edition. A very good copy. Includes 2 exhibition catalogs from the Associated American Artists Galleries from 1994 and ca. 1945. Inscribed and dated on the fly-leaf with an additional hand written signed invitation to a neighbor laid in.

hardcover. Condition: fine. Dust Jacket Condition: near fine. GROPPER, William (illustrator). Limited. An Exhibition Catalogue. 112 illustrations, including 8 in color. 128 pages. Slim 4to, black pictorial cloth, d.w. Los Angeles: The Ward Ritchie Press, in conjunction with the Joe and Emily Lowe Art Gallery of the University of Miami, 1968. Limited first edition. Fine in near fine dust wrapper. Number 30 of 150 special copies, with a separate b/w lithograph, signed by the artist.

Hardcover. Condition: Very Good. First edition. First edition. Signed by William Gropper in black ink on title page, inscribed to former owner. Bound in publisher's orange cloth with blue lettering. Very Good, lacking dust jacket. Binding professionally repaired, now sturdy and tight. A few creased pages. Spine a bit darkened and scratched, small stain on front cover, cloth worn at edges. A circus-acrobat-themed graphic novel by a notable radical American artist and illustrator. It has been hailed by historians of the graphic novel as being one of the best early examples of the form. Especially rare signed.

hardcover. Condition: fine. GROPPER, William (illustrator). Limited. An Exhibition Catalogue. 112 illustrations, including 8 in color. 128 pages. Slim 4to, black & yellow pictorial cloth, yellow board slipcase. Los Angeles: The Ward Ritchie Press, in conjunction with the Joe and Emily Lowe Art Gallery of the University of Miami, 1968. Limited First Edition. Fine in near fine box. Inscribed presentation and original drawing by the artist on the fly-leaf. Number 7 of 150 special copies, with a separate black & white lithograph, signed by the artist.

No Binding. Condition: Very Good. No Jacket. 1st Edition. [Senate] - William Gropper, 18 x 14" Color Lithograph c. 1942, pencil signed to margin and again in lithograph, untitled but other examples are titled "Senate". A lively color lithograph from William Gropper (1897-1977), acclaimed political satirist, cartoonist, and radical leftist illustrator Image is 18 x 14", paper is 22.5 x 17"; sunning to margins, small ink stain to bottom edge of paper, some small tape marks to reverse from previous mountings, print will be shipped rolled. Signed by Illustrator(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. 264 Pp. Blue Cloth, Gilt. First Edition. Inscribed By The Author To The Illustrator, William Gropper. Near Fine. Dust Jacket Priced $3.00, Light Wear, Slight Chipping Across Top Edges. Sam Liptzin (Shepsl, Sem Liptsin) (1893-1980) Was Born In Lipsk, Suwalk District, Russian Poland. He Moved To New York In 1909, Worked In A Sweatshop, And In His Free Hours He Pursued Self-Study. At Age Sixteen, He Became Active In The Socialist Party. He Began Literary Work For Der Kundes (The Prankster) And Di Varheyt (The Truth), As Well As In Trade Union Newspapers. Together With A. Ayzen And H. Garvin, He Published (1920) The Monthly Der Humorist (The Humorist). From 1922 He Was A Regular Contributor To Frayhayt (Freedom), Later Morgn-Frayhayt (Morning Freedom), In Which He Published Humorous Sketches, Poems, And Stories From The Sweatshop, And Ran The Column "A Vort Far A Vort" (A Word For A Word). He Also Placed Pieces In The Journals: Yidish Kultur (Jewish Culture) And Zamlungen (Collections) In New York; Naye Prese (New Press) In Paris; Folks-Shtime (Voice Of The People) In Warsaw; And Various Publications Of Ikuf (Jewish Cultural Association) In South Africa And The State Of Israel. His Books Include: Af Laytish Gelekhter (The Laughing Stock), Humorous Pieces, Poetry, Aphorisms (New York, 1923), 160 Pp.; Royte Feferlekh (Little Red Peppers) (New York, 1926), 160 Pp.; Ikh Lakh Fun Der Velt (I Laugh At The World), Monologues (New York, 1927), 36 Pp.; Lomir Zingen, In Kemp Un Kamf (Let'S Sing, In Camp And In Struggle) (New York, 1930), 32 Pp.; Far Royte Ovntn (For Red Evenings) (New York, 1932), 125 Pp.; Gekemft Un Felakht (Fought And Laughed) (New York, 1933), 32 Pp.; Lebedik Un Lustik (Living And Cheerful) (New York, 1933), 16 Pp.; Nitgedaiget (Carefree) (New York, 1934), 208 Pp.; Gut Morgn (Good Morning) (New York, 1935), 96 Pp.; Kamflustik (Joy Of The Struggle) (Los Angeles, 1936), 176 Pp.; A Freylekhs (A Cheerful Tune) (New York, 1938), 128 Pp.; A Gut-Yontev (Happy Holidays) (New York, 1940), 64 Pp.; Krig Un Zig (War And Victory) (New York, 1942), 80 Pp.; Mit Gezang In Kamf (With Song In Battle) (New York, 1942), 32 Pp.; Tselokhes Di Trern (In Spite Of Tears) (New York, 1943), 48 Pp. (English Translation By S. P. Rudens As In Spite Of Tears [New York, 1946]); Kvekzilbers Penshtiferayen (Quicksilver'S Mischievous Pranks With His Pen) (New York, 1944), 64 Pp.; Hert A Mayse (Listen To A Story) (New York, 1945), 72 Pp.; Shpil Tsum Tsil, Humoreskes, Monologn, Retsitatsyes Un Kinder-Lidlakh (Play To The Goal, Humorous Sketches, Monologues, Recitations, And Children'S Songs) (New York, 1949), 144 Pp.; Zingen Mir, Lider Un Parodyes Af Populare Melodyes (We'Re Singing, Songs And Parodies Of Popular Melodies) (New York, 1949), 46 Pp.; Amol Iz Geven, Epizodn Fun Svet-Shop, Bilder Fun Di Grine Yorn, Kamf Far Treyd-Yunyonizm In Amerike (The Past Happened, Episodes From A Sweatshop, Images From The Green [I.E., First] Years, The Struggle For Trade Unionism In America) (New York, 1951), 264 Pp.; Far Freyd Un Fridn (For Happiness And Peace) (New York, 1953), 160 Pp.; A Vort Far A Vort (A Word For A Word) (New York, 1955), 178 Pp.; Af Vakatsye, Humoristishe Dertseylungen, Monologn, Retsitatsyes Un Aforizmen (On Vacation, Humorous Stories, Monologues, Recitations, And Aphorisms) (New York, 1957), 128 Pp.; Far Kleyn Un Groys, Humoristishe Lider (For Small And Large [Young And Old], Humorous Songs) (New York, 1957), 64 Pp.; Vi Zogt Der Feter (What Did Uncle Say?) (New York, 1960), 208 Pp.; Zingen Mir, Hundert Un Tsvantsik Arbeter Humoristishe Un Folks-Lider (We'Re Singing, 120 Workers' Humorous And Popular Songs) (New York, 1961), 64 Pp.; Mit A Freylekh Ponim (With A Happy Face) (Warsaw: Yidish Bukh, 1963), 235 Pp.; Zingen Mir Far Sholem, 150 Lider Tsum Zingen (We'Re Singing For Peace, 150 Songs To Sing) (New York, 1965), 96 Pp.; Mayn Gortn (My Garden), Stories, Humorous Sketches, Songs Of Struggle (New York: Ikuf, 1969), 378 Pp. Inscribed by Author(s).

Soft cover. Condition: Good. Color And B/W Ilustrations (illustrator). 1st Edition. 36 Issues Of The Russian Political Humor Magazine, Complete Year 1948, Fine, As Issued, Brilliantly Colored, No Wear Or Stains. In A Special Krokidil Faux-Leather Brown Cloth Binder With 53 Crocodiles Blindstamped On Front Cover With Year 1948, Fifty Six Crocodiles On Rear Cover. Front Endpaper Has A Stylish Crocodile Holding A Four-Pronged Pitchfork With Inscription In Red Crayon From Krokodil To American Social Artist William Gropper Dated In 1949. Also With Gropper's Ownership Information In Pencil, At His Croton-On-Hudson Address. Signed by Illustrator(s).

Condition: Good. Lithograph, Matted. 1941. edition not stated. Image size 8-7/8" x 13¼; sheet size "12¼" x 15¾". Signed in the stone and in pencil by the artist in the lower margin.

Condition: Good. Lithograph. Signed and dedicated in pencil.Size: 10 x 12-3/4 inches. Original mat with tape marks and letterpress description.

Gropper, William. CAUCASIAN STUDIES. Ten lithographs, each titled, signed and numbered 20/35 in pencil. Portfolio, gray cardboard with black cloth at spine and flap folds, enclosing the ten print, with a label on the back board reading: "This folio of ten orriginal lithographs is number 20 of an edition limited to thirty-five copies signed by the artist, printed by hand on Papier d'Arches on the press of Gaston Dorfinant at Ile de la Cite, Paris, 1950." Some darkening or light soiling to the lower margins of the sheets, else in very good condition. This portfolio is rare.

unbound. 1 page, 10.5 x 8 inches, Great Neck Estates, NY, November 18, 1974. In this letter, Gropper provides the recipient with detailed biographical information, in part: ".I studied art under Robert Henri and George Bellows.their influence on my outlook on life and creativity was enough for me to be inspired for many growing years. In 1927, on the tenth anniversary of the U.S.S.R. - top artists, writers.were invited to visit that country.Theodore Dreiser, Sinclair Lewis and myself were among the guests of the Soviet writers and artists at that conference.and we held discussions on their approach to art and life. At the time I made hundreds of sketches of people wherever I went.and was not hindered or censored in my work. I was and still am interested in people.not in military installations or secret war machines. Artists are the creators that build treasures of civilization. It so happens that Soviet art is supported by their government and their people.so young artists seem to be resigned to struggle for existence and recognition. I have come to the conclusion that all politicians have ever produced is trouble and taxes.and I don't give a hoot for any of them. It matters little to me if you like what I say or not, but as far as I'm concerned, I'm giving it to you straight." Light natural folds; near fine condition. Radical American artist and illustrator best known for his contributions to The Liberator, New Masses, and The Daily Worker.