Louie Ewing (9 results)

Hardcover. Condition: Very Good. Dust Jacket Condition: very good. Louie Ewing (illustrator). First Edition. 124p, octavo. A very good copy in a very good dust jacket. Dust jacket is darkened along spine, light soiling, minor wear to edges. Text block and top edges of boards are foxed, touch of light foxing on half title page. Minor wear to edges.

Soft cover. Condition: Good. Oversized, staple-bound softcover. Bound in white paper wraps with brown lettering on the front panel. Wraps are toned, with edge wear along the spine and corners. Binding is tight and secure. Pages are crisp, clean, and bright. Fold-out, silk screen facsimile reproduction of the Codex by Louie H. Wing located at the rear is in excellent condition. 16 pages. School of American Research, University of New Mexico Press. Monographs of the School of American Research No. 11. Title page dated November 1, 1947. Copyright dated 1947. Limited to 1500 copies. This is an oversized book, so extra postage may be necessary for priority or international shipping. Please email with questions or to request photos. Note: if there is a photo beside this listing, it's a STOCK photo that ABE put there (for reasons that we cannot understand or control) and might not match this actual book.

Paperback. Condition: Good. 1st ed., 1952 paperback. Moderate external wear, pages yellowed, a few creased corners, some creasing to spine, binding reasonably firm, owner name.

0 Consists of a foiio sized folder with the signed print second series. Very good. light shelfwear to the cover, print is in fine cndition.

Softcover. Condition: Fair. Dust Jacket Condition: No Dust Jacket. Illustrated by Ewing, Louie (illustrator). First Edition. Papers of the Peabody Museum of American Archaeology and Ethnology, Harvard University, Vol. XXXVII; Reports of the Awatovi Expedition, Report No. 5. Ex-library copy in fair condition only. Brown paper wrappers with black lettering on cover and spine. Significant chipping and tearing to spine; front wrapper is detached and partially repaired with tape; some creasing and small chips to edges; minor scratching. Binding of text block is fairly tight. Interior is clean aside from library marks, which include a call number written on spine and title page, a pocket taped to verso of front free endpaper, and a raised stamp on title page. Errata sheet is taped to FFEP. Previous owner's name is stamped on FFEP. Includes black-and-white figures throughout and nine color reproductions of wall paintings on serigraph plates created by Louie Ewing. This monograph examines the remarkable painted murals found at Awatovi on the Hopi Reservation in Arizona as well as some uncovered at other Puebloan sites. ; Color Illustrations; Small 4to 9" - 11" tall; 363 pp.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good +. Limited first edition. 155pp. Quarto [26.5 cm] Turquiose blue cloth over boards with the title and author in silver on the backstrip and front board. Printed tissue-guards with the illustrations (frontispiece tissue-guard detached, but present). Barely perceptible toning to top edge of front cover. A brief notation on the front free endpaper has been covered up with liquid paper. Pages mildly darkened. In the dust jacket, with periodic small losses and closed tears to the edges. With five illustrations reproduced from the author's drawings in serigraph by Louie Ewing. One in an edition limited to 500 copies.

Hardcover. Condition: Very Good +. Dust Jacket Condition: Very Good. First edition. 186pp. Quarto [26 cm] Green cloth with silver lettering on the spine and front board. Head of boards a bit sunned, and foot of boards mildly rubbed. Bookseller's ticket affixed to the title page. The jacket is faded at the spine. There are a few subtle scratches to the panels, and several closed tears. Volume three of the Navajo Religion Series. Rewritten by Mary C. Wheelwright. Includes 13 serigraph color plates by Louie Ewing, after sand paintings recorded by Franc J. Newcomb, Mrs. John Wetherell and Mrs. Laura A. Armer.

Hardcover. Condition: Good. Dust Jacket Condition: Fair. Margaret Ervin Schevill and Louie Ewing (illustrator). xv, [1], 155, [3] pages. Color illustrations. The dust jacket is worn, torn, soiled, and chipped. With five illustrations [all present] reproduced from the Author's Drawings in Serigraphy by Louie Ewing. Inscribed on the fep by the author. The inscription reads For Dorthea and Henry Dixon from Margaret Ervin Schevill. Portion of a handwritten letter from Margaret to Dorthea referencing the University gardens. Margaret Erwin Schevill (1887 - 1962) was active/lived in California, Arizona, New Jersey. Margaret Schevill is known for Indian figure and southwest landscape painting, writing. Known for her watercolor paintings as well as her writing of Southwest Indian subjects, Margaret Schevill was born in Jersey City, New Jersey and graduated with honors in 1909 from Wellesley College in Massachusetts. She taught English at Tucson High School in Arizona, and began to paint and write, expressing her love of the Southwest. She married Rudolph Schevill, who headed the Spanish Department at the University of California at Berkeley, and the couple moved there. She studied painting with modernist William Gaw, and in the 1920s began making trips into northern Arizona, which resulted in many watercolors of the Navajo Indians. The contents include: Foreword; The Way It Began' The Ninth Night of a Navajo Ceremony; Chants, Myths and Gods, Navajo Myths [8 presented]; Navajo Songs, The Medicine Man; Navajo Medicine Woman, Sand Paintings. and The Meaning. Hazel Dreis and her protegé Edward McLean came to private press publishing through their work as hand bookbinders. Dreis, the daughter of a Midwest newspaper publisher, developed a successful business in San Francisco, working with the famed Grabhorn Press, and other Bay area printers, before moving her studio to Santa Fe in 1939. McLean started out as a dancer, traveling throughout the country with the Denishawn Dancers, and apprenticing with Dreis only after a back injury brought an end to his performing career. In Santa Fe during the 1940s, the two produced one-of-a-kind art bindings, as well as edition work, and separately introduced their own private press publishing ventures. Louie Ewing was born in Pocatello, Idaho. In 1933 he moved to California and studied art in a junior college. He followed his art professor, Stanley Breneiser, to Santa Fe in 1935. Ewing married Marrie Breneiser, his teacher's daughter, in 1935, and the couple decided to stay on in Santa Fe. He joined the WPA's Federal Art Project working under Russell Vernon Hunter. In the late 1930s the Washington, D.C. headquarters of the Federal Art Project sent Russell a group of materials on the process of silk screening with encouragement to spread the technique in the Southwest. Russell selected Louie Ewing as the person to master the technique and show it to others. Ewing headed the WPA printmaking workshop in Santa Fe. Silk screening became a major artistic expression in the Southwest. Louie Ewing is viewed by some to be one of the first artists in the United States to "work creatively with serigraphy" on posters and book illustrations. He also did many landscape paintings of New Mexico. Ewing did not limit his artistic output to serigraphy. He also did many landscape paintings of New Mexico, working in nearly all media - watercolor, gouache, oil, stained glass, tile, sculpture. Ewing exhibitions were almost all confined to New Mexico. Ewing continued to produce serigraphs throughout his life. His body of work is one of the monuments to New Mexico life in the 1930s-1970s. Henry Horatio Dixon (1869-1953), Irish botanist, was born in Dublin, Ireland in 1869. He got his Sc.D. at Trinity College, Dublin and also was educated at the University of Bonn in Germany. He married Dorothea Mary Franks in 1907. Between 1892-1904 he rose from assistant to professor of botany at Dublin University and was university professor of botany from 1904 to 1950. He was professor of plant biology at Trinity College, Dublin from 1922; director of the botanical gardens at Trinity College from 1906-1951; and its keeper of the herbarium from 1910-1951. He was a trustee of the Imperial Library of Ireland. He was honorary chairman of the 6th International Botanical Congress held in Amststerdam, The Netherlands, in 1935; and he was honorary president of the International Botanical Congress held in Stockholm, Sweden in 1950. He was recipient of the Boyle Medal in 1917. In 1908 he became a fellow of the Royal Society and was its Croonian lecturer. He was a member of the International Institute of Agriculture and was its chairman for the Committee on Biochemistry in 1927. He was a member of the Royal Dublin Society and was its president from 1945 to 1949. He was a corresponding member of the American Society of Plant Physiologists. He was author of several books, including Traspiration and the Ascent of Sap in Plants (1914), Practical Plant Biology (1922), and The Transpiration Stream (1924). Limited First Edition--one of 500, unnumbered.

First Editions Limited. Each print SIGNED by Louis Ewing below image. Folio: Two folded sheets ([8] pages, 2 unnumbered leaves of color plates). Each silkscreen print is laid in a printed portfolio, with title on p. [1] and descriptive text on p. [2]; p. [3-4] blank. Brochure designed by Merle Armitage. Fine condition. In the 1940s the Laboratory of Anthropology commissioned Louie Ewing to produce several series of outstanding examples of prehistoric and historic Native American art from the museum's collections and other Southwestern sources. Each series typically included prints hand-printed and SIGNED by Ewing in limited editions of 500 copies or fewer which were distributed exclusively to members of the Laboratory of Anthropology. While the "Masterpieces of Primitive American Art" and "Modern Masterpieces of American Indian Art" series are occasionally found in the marketplace, the "Masterpieces of Maya Art" series is a rarer companion to his better-known series. Ewing was known for his pioneering work in serigraphy and created vibrant, accurate reproductions using the silk-screen process. "A Maya City" and "The Corn God" reproduce key examples of ancient Maya art and architecture as hand-printed serigraphs (silkscreens) with Ewing's characteristic technique, are signed by Ewing and are suitable for framing. The prints were created in collaboration with leading Maya scholars of the era; the portfolios were designed by Merle Armitage and printed by the Rydal Press in Santa Fe. Suitable for framing. The Corn God sculpture from Copán is in the American Museum of Natural History, New York.