Arts
Among the furniture shown are armchairs, rockers, stools, settees, desks, beds, music cabinets, drop-leaf tables, nests of tables, chests of drawers, sideboards, china cabinets and dressers. The other items offered in the catalogs include wicker baskets, fabrics, pottery, lamps, china, silverware, and glass.
With over 200 detailed illustrations and descriptions, these two catalogs, first published in 1912 and ca. 1915, are essential reference materials and identification guides for Stickley furniture. In addition, they offer social historians and students of Americana documentation of the new design trend and philosophy that swept America in the early years of the twentieth century, creating a bold break with the past and setting new directions in modern design.
1st edition thus; dust jacket protected; edges lightly worn; rear cover toned and lightly soiled; maroon cloth spine over tan cloth; former owner's name in ink on front pastedown; binding good; text clean. G+/G
Sir Rudolf Bing was the General Manager of the Metropolitan Opera for 22 years (1950-72). The New York Times called this book "a witty, arrogant, forthright memoir." (NYT, October 22, 2972)
1st edition. Inscribed by author. Dust jacket in protective mylar cover; spine has some wear and chipping; dark red cloth with gilt lettering on cover and spine; deckled edges; binding tight; text clean and bright. VG/G
London: Hanover Gallery, 1971. Accordion-bound paperback artist's book; gouache drawings by William Scott reproduced as part of the 1970-1970 series A Girl Surveyed exhibited at the Hanover Gallery, March-April 1971; fifty copies were numbered and signed - this copy is not numbered or signed. Light smudges on covers; spine creased; interior clean and bright. G
Born in rural Kentucky, Mickey Hess grew up listening to the militant rap of Public Enemy while living in a place where the state song still included the word "darkies." Listening to hip-hop made Hess think about what it meant to be white, while the environment in small-town Kentucky encouraged him to avoid or even mock such self-examination.
With America's history of cultural appropriation, we've come to mistrust white people who participate deeply in black culture, but backing away from black culture is too easy a solution. As a white professor with a longstanding commitment to teaching hip-hop music and culture, Hess argues that white people have a responsibility to educate themselves by listening to black voices and then teach other whites to face the ways they benefit from racial injustices.
In our fraught moment, A Guest in the House of Hip Hop offers a point of entry for readers committed to racial justice, but uncertain about white people's role in relation to black culture.
ONE OF THE TEN BEST BOOKS OF THE YEAR: Chicago Tribune, The Philadelphia Inquirer, The Dallas Morning News, Publishers Weekly "Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance."--Brit Bennett, #1 New York Times bestselling author of The Vanishing Half "I was a devil in other countries, and I was a little devil in America, too." Inspired by these few words, spoken by Josephine Baker at the 1963 March on Washington, MacArthur "Genius Grant" Fellow and bestselling author Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines--whether it's the twenty-seven seconds in "Gimme Shelter" in which Merry Clayton wails the words "rape, murder," a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt--has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib's own personal history of love, grief, and performance. Touching on Michael Jackson, Patti LaBelle, Billy Dee Williams, the Wu-Tan Clan, Dave Chappelle, and more, Abdurraqib writes prose brimming with jubilation and pain. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space--from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio. WINNER OF THE ANDREW CARNEGIE MEDAL AND THE GORDON BURN PRIZE - FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, Time, The Boston Globe, NPR, Rolling Stone, Esquire, BuzzFeed, Thrillist, She Reads, BookRiot, BookPage, Electric Lit, The Rumpus, LitHub, Library Journal, Booklist
London: Hodder and Stoughton, 1916; Star and Garter Edition; no dust jacket; tan cloth over gray boards with title in paper label inset on cover and spine; spine frayed and soiled; corners bumped and frayed; hinges weak; frontispiece with tissue guard; illustrated throughout with ink drawings and with full-page tipped-in plates with tissue guards. G
The sequel to Bad Luck, Hot Rocks includes more rueful letters from repentant tourists, this time on stealing lava rocks from Hawai'i
Following a trail of regret from the Petrified Forest (the subject of his classic Bad Luck, Hot Rocks) to the islands of Maui and Hawai'i, artist and educator Ryan Thompson considers the implications of another trove of handwritten apologies, this time from the archives of the Haleakala and Hawai'i Volcanoes National Parks. Written to accompany chunks of volcanic rock and other objects that tourists have pilfered from the Islands and subsequently returned (because of bad luck or bad conscience), the notes and letters express not only a need for forgiveness but also an awareness of the writers' relationship to the Hawaiian landscape, and perhaps also to earth itself--a taking-and-returning phenomenon that (as noted in his earlier book) is its own form of absolution and self-help. Ah Ah weaves together Thompson's own black-and-white travelog with vibrantly colored "portraits" of the returned specimens and facsimiles of selected letters into an endearing reflection on humanity's troubling (but hopeful) entanglement with geology, colonialism and tourism in the Anthropocene.
Ryan Thompson lives and works in Chicago, where he is an artist and associate professor of art and design at Trinity Christian College. His ongoing Department of Natural History projects engage a range of complex and peculiar relationships between humans and the natural world. He is the coauthor of the bestselling photobook Bad Luck, Hot Rocks.
