Union Square, Signed (26 results)

Condition: As New. Signed Copy First edition copy. . Signed by author on half title page.

Condition: Very Good. Signed Copy First edition copy. . Good dust jacket. Inscribed by author on half title page.

Half Cloth. Condition: Very Good. Dust Jacket Condition: Good. Note from Michael Romano on the half-title page. Closed tear to the rear of the dust jacket. G14. Inscribed by Author(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Werner, Honi (Jacket) (illustrator). 1st Edition. Signed and inscribed by author on ffep, "To Susan & Les with love from Meredith 11/14/88." Stated 1st edition; 1st printing per copyright number line. Binding tight; interior clean; decorative end papers. Gray quarter-bound boards with silver lettering on spine; minor soiling to page body edges; minimal shelf wear. Unclipped ($18.95) dust jacket in mylar. The lives of four women--labor unionist Sarah Levy; her fashion designer sister, Ruby; bohemian, pleasure-loving Rachel Sloate; and Tish, an expatriate--are set against the colorful, turbulent backdrop of 1920s and 1930s New York and Europe. 437pp. Signed by Author(s).

Condition: Very Good. Signed Copy . Very Good dust jacket. Signed by both authors on half title page.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Fine Hardcover in Near Fine Color-Photographic Dust Jacket with price intact on front flap; 9 3/8 inches tall; text attractively bound in glossy b&w photographic covers with a photo of Chef Michael Romano on front cover; Inscribed and Flat-Signed by Author/Chef Michael Romano; xx (20) + 331 pages including 140 favorite recipes and an index, plus an additional photo page at end of text; Photographer: Duane Michals. Inscribed by Author(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 3rd Edition. Near fine large octavo hardcover in a like dj. Signed with generic inscription by Romano on 1/2 tp. No other names or markings to text. Photos recipes. Cookbook. Signed by Author(s).

Inscribed by Michael Romano on half-title page, Signed; Stated First edition with a 1 present in the number line; small 4to.; glossy illustrated boards, hardcover; 352 pages; black and white photographic illustrations; very good in a very good unclipped dust jacket.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Signed by both authors. First Edition. Full number line 1-10. Unread, unclipped, and unmarked. Light shelf wear. Additional images available upon request. (see attached photos). Signed by Author(s).

Non-book. Condition: vg+. Kathleen Tanzosh (illustrator). Signed & numbered 31/100. Overall size: 24" tall x 30" wide. Please ask for photo if desired. Non-book.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 5th or later Edition. Near fine large octavo hardcover in a like dj. Later printing. Signed on 1/2 tp by both authors with generic inscription. No other names or markings to text. 329pp. Recipes photos index. Signed cookbook. Signed by Author(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Signed by Author on title page. Light edge wear to dust jacket which is protected in a mylar cover. Interior clean. Fast, secure shipping. #F4/AB/A. Signed by Author(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Presentation copy with both authors signatures to half-title. 1994, 1st. Quarto. 329pp. Illustrated. Original quarter cloth over papered boards, in the illustrative dust wrapper. Price clipped. Otherwise generally clean and bright. Overall a 'Very Good' copy. Heavy - additional shipping may be required. Signed by Author(s).

Trade Paperback. Condition: Near Fine. First Edition. Two items sold together: A SIGNED copy of the original June, 2000 Playbill for the renowned off-Broadway run of The Laramie Project (signed on the cover by Moises Kaufman) at the Union Square Theatre; together with a SIGNED copy of the 2014 paperback edition of 'Laramie Project and the Laramie Project: Ten Years Later' (signed by Kaufman on thr half-title). The book is near fine, the Playbill (in stapled wraps) has some creasing and wear.

hardcover. Condition: fine. Dust Jacket Condition: fine. First. Black & white illustrations, small 4to, glossy pictorial boards, d.w. (New York: Harper Collins, (2001). First Edition. Fine. Signed by both authors on the fly-leaf.

Hardcover. Condition: Good. 1st Edition. Small hardcover. Original printed paper over boards. New green cloth spine has been added. Book has been rebacked, new headbands added, and some paper and hinge repair completed. Text block tight. Small japanese-repair tissue hinge visible at gutters at front and rear endpapers. 554 pages. Inscribed by the author on the title page, "Alex J. Davis from the author, Aug 183-." Top edge of the title page is a little chipped, so the year of the inscription is missing. Twentieth century ownership name on the front endpaper of noted folk and DC historian Henry Glassie. Pages are toned from age, and wavy from exposure to humidity or moisture. Some pages retain 'high-tide' lines of moisture damage. Text is legible throughout. A fascinating and scarce DC history. Measures smaller than 4 x 6 inches. Please email with questions or to request photos. If you see a photo beside this listing, please be aware that it's an ABE Stock Photo (whatever that is) and not a photo of this book. Signed by Author(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. First printing. Octavo. 173pp. Corners lightly bumped, a few splash marks on the rear board and the spine sunned and rubbed, affecting most of the lettering, very good in good or better rubbed dust jacket with light sunning to the spine and a number of chips, creases and tears at the perimeter. Signed by the author: "Gratefully yours Dorothy Day." Books signed by Day are become increasingly difficult to find.

Condition: Near Fine. Dust Jacket Condition: Very Good. First Edition. 8vo, brick red cloth, white titles, blindstamped boards, bevelled edges, 173pp. Stated First Printing, November 1938. Review copy, with a tipped in photo slide featuring a press portrait of Day, and a hand-signed letter from the publisher addressed to Newsweek. Unclipped dust jacket (1.50) mildly spotted to panels, small closed tear to upper edges of both panels, chipping and loss to lower edges of front panel, most noticeably the "Y" of Day. The spine crown of cloth is partly sun bleached, endpapers and page leaves age toned. The first book length publication by Dorothy Day following her conversion to the Catholic faith and founding of the Catholic Worker Movement, and the first of two autobiographical works (The Long Loneliness would later be published in 1951). "From Union Square to Rome", written and dedicated to her brother, focuses on Day's youth and activity in communist movements, ending with a brief narrative of her conversion. Previously excerpted in The Sign, America, and Preservation of the Faith magazine. A scarce first printing, exceedingly scarce in dust jacket. Presents handsomely in mylar. .

Hardcover. First Edition; First Printing. Fair in boards. 2 inch open tear at bottom of front gutter and top of rear gutter. Toned spine. Fraying along panel corners. ; Signed by author on title page. ; Signed by Author.

Condition: Good. Color silkscreen. 9.25 x 11.5 inches. Signed in the plate.

Original oversize photograph pairing two color images of The Velvet Underground, shot in 1968 at 33 Union Square West in New York City. SIGNED by photographer Billy Name at the bottom left margin, and struck by him on glossy AGFA stock circa 1990s. 11 x 14 inches. Fine. Signed.

Bishop, Isabel (illustrator). Bishop, Isabel. UNION SQUARE MAN. Teller 10. Etching, 1929. 3 7/8 x 2 7/8 inches; 100 x 75 mm. Signed in pencil. Apparently a proof aside from the edition of 25 printed by Stephen Sholinsky in 1981, with his embossed monogram, with Bishop's pencil signature, but without the numbering in pencil in the series 1/xxv-xxv/xxv. (Prior to the 1981 edition there had been no edition, only a few proofs printed by Bishop). In excellent condition.

Framing: Unframed Original rare stereoscope/stereoview photograph photo measuring approximately 3 3/8 x 6 7/8 inches. Thanks for looking. In the years immediately following the assassination of Abraham Lincoln on the night of Good Friday, April 14, 1865, grieving communities across the nation initiated plans to erect memorials and statues to the fallen President. Among the first was New York City. The Union League Club started the ball rolling. In 1868 the Republican political organization began selling ??subscriptions? to garner donations from the community to pay for the project. As the money flowed in, the Club commissioned sculptor Henry Kirke Brown to design the monument. Brown was well-known to New Yorkers, having produced the masterful equestrian statue of George Washington that stood at the south end of Union Square Park. The bronze statue was recognized internationally as among of the greatest of contemporary equestrian works. Brown??s efforts in depicting Abraham Lincoln would fall short of the mark in the public??s eye. By September of 1871 the monument was nearly finished. Cast by the Wood Bronze Company of Philadelphia, the statue had been completed a year earlier and carefully guarded from public view in a bonded warehouse on South Street. Weighing almost 3,000 pounds, it stood just under 11 feet tall. Brown had inexplicably chosen to dress the President in modern attire while wearing a Roman toga over his shoulder. In his left hand he held the Proclamation of Emancipation. New Yorkers gathered on September 17 as workers assembled the monument. The base of the monument, the largest stone ever quarried in the United States and weighing over 17 tons, was placed on the 9-1/2 square foot sub-base over a 5-foot deep foundation. A second stone, at 16,000 pounds, was topped by an 8,000-pound cap forming a 24-foot high pedestal for the statue. The gray granite blocks from Dix Island, Maine had been highly polished and etched with 36 stars representing each state of the Union during the Lincoln administration. And then the statue was erected. The New York Times reported ??A frightful object has been placed in Union-square. It is said to be a statue of a man who deserves to be held in lasting remembrance as a true patriot, a sincere, unselfish, noble-hearted chief in times of great trouble and perplexity??Abraham Lincoln. But it does not resemble Mr. Lincoln.? The article lambasted Brown??s choice of Lincoln??s clothing. ??The mind has not conceived such a pair of pantaloons as that which the artist has put on this statue.the designer of the work has clapped a Roman toga over the upper part of the figure, thus combining the costume of the past and the present in a manner never yet dreamt of by caricaturists. ??There never was such a statue done in this world before. It is like the hideous nightmare which people have after supping on roast pork and lobster salad,? the writer complained. The newspaper offered to accept subscriptions to remove the statue and ship it to Chicago where ??works of art of this kind are highly appreciated.? It further warned nurse maids to avoid that area of the park, lest the children in their care might mistake the statue for the bogeyman. The criticisms were unrelenting for decades. When the statue of Benjamin Franklin was unveiled in Printing House Square a year later, the same newspaper sighed with relief at its high quality, saying that the City was ??discouraged since Mr. Brown??s ??Lincoln?? was set up in Union-square.? The memorial was upgraded in 1875 with a low stone wall, engraved with the words ????with malice toward none charity toward all.? The elaborate new setting did not, however, diminish criticism. On January 4, 1896 Architecture and Building wrote ??The angularity and ungainliness of the figure are marked, and the effect upon the spectator is painful rather than otherwise. There is nothing in the face to indicate genius, or any noble quality, with perhaps the exception of earnestness of purpose and determination.? Three years later Layton Crippen wrote a scathing article for The New York Times entitled ??Unsightly New York Statues,? in which he included an etching of Brown??s Lincoln. ??New York is just now waking up to the fact that private donors and public committees have been allowed to place a large number of painfully ugly monuments in positions where they can do the most harm??But the most difficult problem is that of doing away with or replacing with tolerable productions the old eyesores.? Thirty-six years after its unveiling, the statue was still being panned. In its October 1917 edition, Art World noted ??Perhaps the finest equestrian statue in the United States is the ??Washington?? in Union Square, New York, by H. K. Brown. But across the square is the statue of Lincoln, also by Brown, and that is perhaps the worst Lincoln the country had??Here we have the best and worst work of Brown on one square in New York.? Despite the artistic condemnation, the statue was the site of speeches and celebrations for decades. Flowers adorned the memorial every year on Decoration Day (now known as Memorial Day). In 1877, for instance, with the memory of the Civil War still vivid, the Lincoln statue was the most decorated in the park. A laurel wreath was placed on Lincoln??s head, the statue was wound with sprays of wisteria, begonias and greenery while a panel spelled out ??Emancipation? in white carnations. Both the Washington and Lincoln statues sat on triangular traffic islands created by the oval-shape of Union Square. When they were erected, the park was surrounded by elegant brownstone mansions that created a pleasing backdrop for them. By the early 1920s, 14th Street was lined with tall commercial buildings. On May 21, 1922 The Times noted that ??As the square gave way to business houses, the background and surroundings became less favorable to a showing of??the monuments.? A pla.

Bishop, Isabel (illustrator). Bishop, Isabel. ENTRANCE TO UNION SQUARE. Etching with aquatint, 1981 (published 1984). Teller 77. Edition of 75, signed and numbered in pencil.

Bishop, Isabel (American 1902-1988). THE WALL AT UNION SQUARE Drawing, pencil on paper, not dated. Signed in pencil, lower right. 4 x 5 inches (main image), 7 7/8 x 7 1/2 inches (sheet). There are additional sketches in the margin, all related to the main subject. A few small spots in the margin, well away from the images, else in very good condition.

Soyer, Raphael (illustrator). Soyer Raphael. UNION SQUARE. Lithograph, 1929. (Cole 17A) Edition of 10, titled and signed in pencil. 7 1/8" x 8 3/4". With the blindstamp of the printer Jacob Friedland center, bottom, and the date stamp of Downtown Gallery "Nov 15, 1932" on reverse. In Very Good condition. One of five New York scenes produced by Soyer in 1929-30 (Cole 15-18). All were done in very small editons (10-25), and are therefore very rare.