Product Type
Condition
Binding
Collectible Attributes
Free Shipping
Seller Location
Seller Rating
Published by International Publishers
Seller: ThriftBooks-Atlanta, AUSTELL, GA, U.S.A.
Hardcover. Condition: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less 0.75.
First edition, first printing. Inked name to upper front pastedown, else fine in fine dust jacket, in mylar cover.
Published by Alfred A. Knopf, New York, 1969
Seller: Midway Book Store (ABAA), St. Paul, MN, U.S.A.
Hardcover. 23.5 x 17 cm. Octavo. 78pp. Grey cloth in price clipped dust jacket. Illustrated with woodcuts by Ann Grifalconi. Collection of 45 poems. Gift inscription on front free endpaper. Early reprint with no statement of edition. Near Fine in Near Fine dust jacket.
Published by The Metropolitan Museum of art/viking, New York, 1995
ISBN 10: 067086501XISBN 13: 9780670865017
Seller: Ira Joel Haber - Cinemage Books, Brooklyn, NY, U.S.A.
Book
Oversize Illus Bds. W. Dj. Romare Bearden (illustrator). First Edition First Printing. A beautiful book combining the wonderful art of Bearden with the wonderful poetry of Hughes. Vivid and handsome with great production values. Fine/fine. Book.
Published by Mundo Obrero, New York City Ny, 1932
Seller: Arroyo Seco Books, Pasadena, Member IOBA, Pasadena, CA, U.S.A.
Association Member: IOBA
Magazine / Periodical First Edition
Soft cover. Condition: Very Good. Hugo Gellert, Jacob Burk / Burck, Etc. (illustrator). 1st Edition. 24 Pp. Illustrated New-York-Based Journal, Published 1931-1933, One Of Several Spanish-Language Rags Published In Different Countries, Each Focused On A Particular Area, All Intimately Connected To The Soviet Union And Its "Communist Party" Units Abroad; The Madrid Journal Was Published 1931-1978. Rear Cover With List Of Mundo Obrero Publications In Spanish, With Illustration Of A Massive Chinese Peasant Sweeping Away Representatives Of U. S. Imperialism, British, Japanese, And French, "Manos Fuera De China". Light Wear And Browning, Light Damp Stain In Upper Right Corner. Worldcat Shows Two Institutional Holdings Of These Original Editions, But Microfilm Is More Generally Available. The Cover Artist, Hugo Gellert (Born Hugó Grünbaum, 1892 ?1985), Was A Hungarian-American Illustrator And Muralist. A Committed Radical And Member Of The Communist Party Of America, Gellert Created Much Work For Political Activism In The 1920S And 1930S. It Was Distinctive In Style, Considered By Some Art Critics As Among The Best Political Work Of The First Half Of The 20Th Century. His Family Immigrated To New York In 1906. Gellert Studied In Art Schools In New York. He Had Said That "Being An Artist And Being A Communist Are One And The Same." He Used His Art To Advance His Ideals For The Common People. Much Of His Art Depicted What He Saw As The Injustices Of Racial Divides And Capitalism. Often His Works Were Captioned With Slogans To Further The Illustration. The Working Day, For Example[3] Shows A Black Laborer Standing Back To Back With A White Miner. It Is Accompanied By A Phrase From Karl Marx's Das Kapital, "Labor With A White Skin Cannot Emancipate Itself Where Labor With A Black Skin Is Branded. Opposed To World War I, Gellert Published His First Anti-War Art In 1916. His Work Was Prominently Featured Both In The Illustrated Magazine Of The Hungarian Socialist Federation Of The Socialist Party Of America, El?re (Forward), As Well As Max Eastman's Radical Monthly Magazine The Masses From This Time. He Also Created Numerous Illustrations For Eastman's Successor Magazine, The Liberator, Including The Cover Art For The First Issue, As Well As Sundry Publications Of The Communist Party Usa After Its Formation, Such As The Workers Monthly And The New Masses. Later, Gellert Was Offered A Position As A Staff Artist For The New Yorker Magazine. In 1925, He Moved To The New York Times. In 1927, Gellert Was Appointed The Leader Of The Anti-Horthy League, The First American Anti-Fascist Organization. In This Capacity, He Organized A Demonstration Against U.S. President Calvin Coolidge, And Both He And His Wife Were Arrested While Picketing The White House. In 1932, The Museum Of Modern Art In New York City, Feeling Uncomfortable About Gellert's Public Persona And Politics, Petitioned To Have Gellert's Work Removed From Its Collection. However, They Were Forced To Reconsider When Other Artists, Many Of Whom Did Not Share Gellert's Social Idealism, Came To His Defense As Fellow Artists And Threatened To Withdraw Their Own Works. In 1934 Gellert Was Among The Leaders Of The Artists Committee Of Action, An Informal Group Which Had Formed To Protest Nelson Rockefeller's Destruction Of Diego Rivera's Mural Man At The Crossroads Early In The Year At Rockefeller Center. Gellert Was Instrumental In The Establishment Of Art Front Magazine, Which Started Publication In November 1934 And Was At First Jointly Published By The Aca And The Artists Union. In 1939, Gellert Helped Organize The Group, "Artists For Defense". He Later Became The Chairman For "Artists For Victory", An Organization That Included Over 10,000 Members. Gellert's Social Commentary, His Work And His Beliefs Have Placed Him Among The Greatest American Social Artists Of The Art Deco Era, According To Experts In The Field.
Published by Turner Publicaciones, S.L., Madrid, 2001
Seller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, U.S.A.
First Edition
Hardcover. Condition: vg. Limited First edition. 1/6000. Folio (13 1/4 x 12 1/2"). 245, [5]pp. Original crushed morocco with gold lettering to spine and front cover. Marbled endpapers. Frontispiece. Half-title and title page in grey and black lettering. Published to comemorate the centennial of Manuel Álvarez Bravo's birth (1902-2002), Mexico's first principal artistic photographer and the most important figure in 20th century Latin American photography, this Spanish language edition of "One Hundred Years, One Hundred Days" is a retrospective look at Alvarez Bravo's long career with 100 striking tritone photographs. A total run of 7,000 unnumbered copies of this edition were published: 6,000 in Spanish and 1,000 in English. Our copy is in a deluxe leather binding. Text in Spanish. Binding and interior in very good condition.
Published by Knopf, New York, 1946
Seller: The First Edition Rare Books, LLC, Cincinnati, OH, U.S.A.
First Edition Signed
Cloth. Condition: Near fine. Dust Jacket Condition: very good. Signed first edition of The Dream Keeper and Other Poems by Langston Hughes. (illustrator). First Edition, Later Printing. Octavo, [xviii], 77pp. Full teal blue cloth, title in red on cover and spine, red top stain. Stated "Seventh Printing, May, 1946" on copyright page. Solid text block, toning to edges, bumped corners, internally fine. Dust jacket illustrated by Helen Sewell, with numerous black and white drawings throughout. In the publisher's dust jacket, $2.75 retail price on front flap, black pen inscription on spine. Strip of toning across middle of jacket, chipping to head of spine, touch of soiling to rear panel. Inscribed by the author: "To Elizabeth ---, Sincerely, Langston Hughes / June 3, 1949.".
Published by Alfred A. Knopf, New York, 1942
Seller: Captain Ahab's Rare Books, ABAA, Stephenson, VA, U.S.A.
Association Member: ABAA
First Edition
First Edition. First Printing, one of 3,300 copies. Octavo (21.5cm); black and orange cloth-covered boards, with titles stamped in black on spine and in pink on front cover; orange topstain; dustjacket; [xiv],124,[6]pp, with frontispiece and 12 illustrations by E. McKnight Kauffer. Contemporary owner's ink name to front endpaper, else a fresh, Fine copy, with the topstain bright and unfaded. Dustjacket is unclipped (priced $2.50), lightly edgeworn, with a hint of sunning to spine, a few tiny nicks, and some mild dust-soil to rear panel; Very Good+. An attractive copy of Hughes's fourth full collection of poetry, a collaborative work with artist and graphic designer E. McKnight Kauffer. In his introduction, Hughes describes the collection as "a book of light verse. Afro-Americana in the blues mood. Poems syncopated and variegated in the colors of Harlem, Beale Street, West Dallas, and Chicago's South Side. Blues, ballads, and reels to be read aloud, crooned, shouted, recited, and sung. Some with gestures, some not as you like. None with a far-away voice" (p.[ix]). Dickinson 12; Blockson 6355.