Text Charles Johnson (12 results)

Hardcover. Condition: Like New. Dust Jacket Condition: Like New. Jean Seal (Jacket Design); Ruth Kolbert (Text Design); Jan B. Quackenbush (Author Photo) (illustrator). 1st Printing February 1994. 297 pp. Clean, fresh copy and dj with very minor shelf wear on front and back flap of dj. Crisp pages and clean text.

Hardcover. Unpaginated, a little over twenty pages long counting the numerous sketches, hardbound in textured green boards gilt, plates in sepia and b&w, a nice bright copy, sound, square, clean and unmarked. A very good to fine copy. The message: French wine is provisioned perfectly well in London, go no further; item concludes with restaurant recommendations.

Hardcover. Condition: About Fine. Dust Jacket Condition: Very Good+. First Edition, First Printing. 1 volume (unpaged) : illustrations ; 34 cm. 4to. Hardcover. Glossy white paper over boards, red lettering to spine and front cover. Book Condition: About fine. Dust Jacket Condition: Mild rubbing to panels with some superficial scratches to rear panel. Portraits of all 35 members of the Steppenwolf company alongside historic production photography and reflections by Christiansen, DeLillo, Shepard, Vonnegut et al.

Hardcover. Condition: good. no additional printings listed . NOT an ex library book. Book with dark blue binding, Cover illustration in gold. Book has some wear on spine edges and corners. There are 87 pages and 51 pages plus the index.

Hardcover. Condition: good. no additional printings listed . NOT an ex library book. Book with dark blue binding, Cover illustration in gold. Book has some wear on spine edges and corners. 87 and 51 pages plus the index.

Hardcover. Condition: Near Fine. First Edition. Near fine in a fine dj. (Hint of faint foxing at top & fore edges).

Hardcover. Condition: New. 1st Edition. First Edition. First printing, with full letter line. A very fine (as-new) copy, without a jacket. A clean, unmarked copy. SIGNED by Lloyd on page opposite the half-title (as pictured), and dated in the year of publication. Not inscribed to anyone in particular, he has just written ENJOY. Includes 3-d glasses. Inscribed by Author(s).

Hardcover. First Edition; Second Printing. Very Good+ in boards. 3D glasses removed. Shelfwear on front gutter. ; 4to 11" - 13" tall; 160 pages.

Wrappers. Condition: Very Good. (1966.) (New Haven.) 4to. Noticeable bumping and creasing, with light chipping, to spine ends and corners of wrappers, and top left corner of rear wrapper chipped away entirely. Moderate rubbing to joints, with some scuffing and rubbing to boards. Light scuffing and dampstaining to top edge of textblock. VG in wrappers.

Hardcover. Condition: Very Good. 1st Edition. London: John E. Sowerby, 1855. With 49 hand-coloured plates illustrated by John Edward Sowerby (1825-1870). Text by Charles Johnson (1791-1870). Octavo (9 1/2" x 6", 240mm x 160mm). Bound in brown cloth with gilt and blind. Title gilt to the smooth spine. . Boards, extremities and spine rubbed. Light foxing. Pencil inscription of Jane Moos, 1856, to the front pastedown. The Sowerby family was comprised of generations of naturalists, illustrators, botanists and zoologists. John Sowerby collaborated with Charles Johnson on several projects.

Hardcover. Condition: Good. 2 Volumes in 1. 8vo. pp. 2 p.l., 87, [1]; 1 p.l., 52. 80 partly hand-coloured engraved plates. contemporary half calf (worn but solid, endleaves foxed). Freeman 1284 & 1286. Nissen 994-95. Pritzel 8793-94 [vide SOWERBY].

First Edition. First Printing. Small quarto (26cm); black cloth, with titles stamped in gilt on spine; xii,355,[1]pp. Johnson's own copy, with his pictorial bookplate designed by Aaron Douglas (printed in black on cream wove paper, measuring 4.25" x 3") mounted to front pastedown. Modest external wear, a few faint scuffs to covers, mild dust-soil to text edges, with some softening and minute board exposure to corner tips; contents clean; Very Good+, lacking the scarce dustjacket. Sociological study of the Southern Counties, financed by the Julius Rosenwald Fund, in an effort to reform rural education. "In conversations among the various students it soon came about that if one reported the crop system and the degree of ruralization of a given county, it was at once possible to described with astonishing accuracy the "social conditions" that were to be expected: the kind of school system, the state of the public health, the economic order, the relations between the races. We found that crops, degree of ruralization, and certain other standard criteria were an index to many very significant characteristics. It was apparent, therefore, that if we could compile a comprehensive county index or statistical atlas of the South (by crops, industries, and degree of rurality) we would have an excellent guide to conditions which vitally affected education and all other social relationships throughout the region" (p.v). Johnson (1893-1956) was a prominent sociologist and college president, who played a pivotal role in the Harlem Renaissance in his role as editor of the National Urban League's journal Opportunity, where he published the work of Langston Hughes, Countee Cullen, Zora Neale Hurston, and artist Aaron Douglas. "More quietly than Du Bois or Locke.Johnson exerted perhaps the longest lasting impact on Douglas. It was at Johnson's insistence that Ethel Ray Nance encouraged the artist's move to New York. From his helm at the Urban League's Opportunity magazine, Johnson, too, found illustration work for Douglas almost immediately. In addition, it was Johnson who, after gaining his position as the first black president of Fisk University, recruited Douglas to develop the arts program there, offering a position he held for more than three decades. Johnson often worked behind the scenes making opportunities for others. Douglas described him as someone who "understood how to make the way, how to get the next step, how to indicate the next stop for many of these younger people" (Earle, Susan. Aaron Douglas: African American Modernist, p.84). This bookplate is one of two that Douglas designed in the 1920s for Harlem Renaissance figures (the other being for Alain Locke) - an excellent example of his early, often imitated style, employing the silhouette of a female figure holding a banjo, flanked by palm fronds and angular buildings. Uncommon in commerce; the only example of this bookplate known to us was offered at Swann's African American Art sale (April 4, 2024). 81731.