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THE BIG KILL. Mickey Spillane. THE BIG KILL.
New York: E. P. Dutton & Company, Inc. 1951. First edition. His fifth book. INSCRIBED, "Hi Dave - A big hello! Mickey Spillane." Minor wear otherwise very good to near fine, in very good plus dust jacket with minimal edge wear and a light staining to verso. Scarce in dust jacket, especially signed. INSCRIBED "A BIG HELLO!"

[Book #53171]       Price: $1,750.00
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THE SNAKE. Mickey Spillane. THE SNAKE.
New York: E. P. Dutton & Company, Inc. 1964. First edition. SIGNED by the author. Inconspicuous erasure on front pastedown, otherwise bright and fine; in near fine, lightly rubbed dust jacket with tiny rubbed nicks to corners and spine ends.

[Book #53237]       Price: $450.00
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THE GREAT HOTEL MURDER. Vincent Starrett. THE GREAT HOTEL MURDER.
New York: Caxton House, Inc. 1939. Reprint of the Doubleday, 1935 first edition with same pictorial dust jacket cover. Pages aged, name etc. on pastedown (mostly under dust jacket flap), otherwise very good or better; in dust jacket with spine ends rubbed and lightly chipped otherwise about very good.

[Book #54794]       Price: $100.00
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HUNTER S. THOMPSON, TWISTED MEAT ARTIST: Limited Edition, Signed Silkscreen Print. Ralph Steadman, Hunter S. Thompson. HUNTER S. THOMPSON, TWISTED MEAT ARTIST: Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Petro III Graphics), 2006. First edition. One of 250 SIGNED, numbered copies of Steadman's image of a deceptively pensive-looking Thompson sweating next to a table full of empty beer cans thinking, "If that twisted meat artist draws one line out of place I'll beat his kidneys into his shoes with a jackhammer." An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. One-color silkscreen on white Rising Stonehenge deckle edge paper measuring 15 x 22 inches. Fine.

[Book #53093]       Price: $200.00
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LONO'S FIGHTING CHAIR: Limited Edition, Signed Silkscreen Print. Ralph Steadman, Hunter S. Thompson. LONO'S FIGHTING CHAIR: Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Petro III Graphics), 2006. First edition. One of 250 SIGNED, numbered copies of Steadman's image of Thompson asleep in a fishing boat chair with the shadow of a vulture creeping up from behind and a shark lurking in the waters below. An image from Steadman's 2006 book THE JOKE'S OVER, a memoir of his friendship and collaboration with famed Gonzo Journalist Hunter S. Thompson. The "Joke's Over" prints cover the span of their association, from their first meeting in Kentucky to the 2005 memorial service at which Thompson's ashes were blasted out of a cannon and include work from FEAR AND LOATHING IN LAS VEGAS, THE CURSE OF LONO and THE KENTUCKY DERBY IS DECADENT AND DEPRAVED, among many others. One-color silkscreen on white Rising Stonehenge deckle edge paper measuring 22 x 30 inches. Fine.

[Book #53092]       Price: $500.00
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HARMONIUM. Wallace Stevens. HARMONIUM.
New York: Knopf, 1931. Second edition of the author's first book, but so altered as to constitute almost a new book, dropping three poems which appeared in 1923, and adding fourteen new poems. Second/third binding (602 copies): blue paper-covered boards with black cloth spine. There were also copies in green paper boards. Name on endpaper, otherwise near fine in very good to near fine dust jacket which is tanned on edges and at spine and just starting to split at top of front spine fold. Still, nice and bright.

[Book #50233]       Price: $500.00
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DONALD S. KLOPFER: AN APPRECIATION. William Styron, , Donald S. Klopfer. DONALD S. KLOPFER: AN APPRECIATION.
(New York: Random House, 1987). First edition and only edition. One of only 2,000 printed. Includes many authors and others with memories of Klopfer, who was Chairman Emeritus and co-founder of Random House. Styron's 3-page contribution is SIGNED by him (at the end of his piece). Fine in clear acetate jacket, as issued.

[Book #54417]       Price: $100.00
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THE COLLECTED STORIES OF PETER TAYLOR. Peter Taylor. THE COLLECTED STORIES OF PETER TAYLOR.
New York: Farrar, Straus and Giroux, (1969). First edition. A remarkably bright copy, fine in fine dust jacket.

[Book #54561]       Price: $100.00
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THE WIDOWS OF THORNTON. Peter Taylor. THE WIDOWS OF THORNTON.
New York: Harcourt, Brace & Company, (1954). First edition. Light rubbing to tips and spine ends, otherwise fine in very good to near fine, bright, price-clipped dust jacket with light rubbing and nicked tips.

[Book #35655]       Price: $160.00
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TERRY'S GUIDE TO THE JAPANESE EMPIRE: Including Korea and Formosa. T. Philip Terry. TERRY'S GUIDE TO THE JAPANESE EMPIRE: Including Korea and Formosa.
Boston: Houghton Mifflin Company, 1920. Second edition. With chapters on Manchuria, the Trans-Siberian Railway, and the Chief Ocean Routes to Japan. INSCRIBED by Terry on first free page "To my friend. . .With high esteem." Flexible, red cloth boards with gold lettering on front and spine; marbled page edges. 799 pages (including index) plus a number of full page ads. 13 Maps, 7 of them folding (one short tear, on one, repaired with archival tape), and 16 pages of plans. A thick book in very nice shape, certainly near fine with one small closed tear on lower back corner. Near fine with small closed tear on lower back corner.

[Book #52555]       Price: $200.00
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FONG AND THE INDIANS. Paul Theroux. FONG AND THE INDIANS.
Boston: Houghton Mifflin Co. 1968. First edition. His second book. SIGNED BY THEROUX on the title page. Fine in near fine dust jacket with a touch of light rubbing, mild wear to head of spine and spine lettering just beginning to change tone.

[Book #54796]       Price: $250.00
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"BAND" William Tolliver. "BAND".
Lafayette: circa 1981-83. Oil on canvas, measuring 36 x 48 inches. Brown wood beveled frame. Colorful image of four band members mid-note--bass, violin, banjo, and horn--with a free-flowing geometricity evoking cubism. William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.

[Book #53059]       Price: $35,000.00
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"FIELD HANDS" William Tolliver. "FIELD HANDS".
Lafayette: circa 1981-83. Mixed media of principally pastels, measuring 26 x 36 inches. Matted and framed under glass in gold-burnished, brown wood frame with inner scroll. Field workers, men and women, hoes hoisted on shoulders, pausing to watch the sun rise over the trees. William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.

[Book #53060]       Price: $22,500.00
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"MAN AND WOMAN IN BAR" William Tolliver. "MAN AND WOMAN IN BAR".
Lafayette: circa 1981-83. Mixed media painting, measuring 24 x 34 inches. Matted and framed under glass in gold-burnished, brown wood frame with inner scroll. Colorful image of a man and woman at a small candle-lit table, with strong foreground image of the man and the woman just blending into the swirling background. William Tolliver (1951-2000) was a brilliant self-taught, Mississippi-born artist. He arose during the mid-1980's as a brilliant regional talent, an individual impelled by a desire to capture the landscapes and peoples of his native deep South. Whether dealing with everyday workers or back-alley jazzmen, he conveys a universal message through the common human experience. He was born in Vicksburg. His mother worked in the cotton fields by day, but also raised 14 children. To stimulate their interest in learning, she often challenged William and his older brother to drawing contests. Discovering William’s talent, she borrowed art books from the library that exposed her son to the works of the European masters. At age 14, Tolliver dropped out of school and left Mississippi to join the Job Corps program in Los Angeles. During his year-and-a-half stint with Job Corps, he studied carpentry at a government-sponsored trade school. Assisted by an instructor at the trade school who was also a visual artist, Tolliver received additional instruction and information about the techniques of painting. He married in 1977 and, in 1981, he moved his family to Lafayette, Louisiana, where an oil boom had created employment opportunities in the construction trades. In Lafayette, he worked as a wallpaper hanger and a house painter. Two years later, however, the city’s building industry fell into decline, leaving Tolliver unemployed. Laid off from his job and without income, he set out to relax in his free hours by painting with his daughters paint kit. Tolliver soon began to paint in a new and unique style that has been termed "representational abstract expressionism." Able to work in numerous mediums- oil, acrylic, watercolor, oil pastel, and dimensional reliefs- Tolliver was forever exploring new techniques.Critically ranked with such famous African American artists as Romare Bearden and Jacob Lawrence, Tolliver soon gained the reputation as one of America’s most renowned contemporary artists. He has received numerous awards and recognitions for his contributions in the field of art. He also produced the poster for the 1996 Atlanta Olympics, the city where he finally settled. (Source: Contemporary Black Biography, Volume 9, Gale Research, 1995.). ORIGINAL ART.

[Book #53057]       Price: $22,500.00
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"PHILIP REISMAN": In A-D, An Intimate Journal for Art Directors. Leo; John Steinbeck Tolstoy, Henry Goodman, Philip Reisman. "PHILIP REISMAN": In A-D, An Intimate Journal for Art Directors.
(New York: A-D Publishing Co. 1940). First edition. 20-page essay by Goodman on Reisman and his work in the Oct.-Nov. 1940 issue of "A-D, An Intimate Journal for Art Directors, Production Managers, and their Associates." Essay on Reisman is illustrated with 8 full-page drawings, three of which are in color, and 10 half-page illustrations; both covers feature color reproductions of Reisman's work (appear to be from a WPA mural). Includes several illustrations from Tolstoy's ANNA KARENINA (Random House, 1940) which, according to Goodman, was a Book-of-the-Month Club "Book Dividend." He goes on to say there were close to 200,000 copies distributed. But judging by the relatively few copies offered online, that number seems unlikely. Also includes a "project illustration for Steinbeck's THE GRAPES OF WRATH," an unpublished piece. Following the Goodman piece on Reisman is "Ballet of the A B Cs," a "typographic keepsake" illustrated by Emery I. Gondor; a Hubert Davis portfolio; and several ads. Near fine in pictorial paperwraps measuring 5 1/2 x 8". Interesting little item. AN INTERESTING LITTLE ITEM.

[Book #52479]       Price: $50.00
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VAN GOGH'S BAD CAFÉ. Frederic Tuten. VAN GOGH'S BAD CAFÉ.
New York: William Morrow and Company, Inc. (1997). First edition. SIGNED on title page. Fine in dust jacket.

[Book #51166]       Price: $100.00
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THE $30,000 BEQUEST, and Other Stories. Mark Twain. THE $30,000 BEQUEST, and Other Stories.
New York: Harper & Brothers, 1906. First edition, first state. Contemporary gift inscription on second blank page, cover shows some minor wear and spine a bit sunned and some staining along front spine fold, still altogether about very good.

[Book #48543]       Price: $300.00
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THE AMERICAN CLAIMANT. Mark Twain. THE AMERICAN CLAIMANT.
London: Chatto & Windus, 1892. First UK edition. Ads dated May 1892, versus October 1892 - which is when it was published. Illustrated by Dan Beard and Hal Hurst. Prelims and page edges lightly foxed, spine faded and covers lightly soiled, otherwise good to very good with small, bookstore blindstamp on endpaper.

[Book #7697]       Price: $75.00
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TOWARD THE END OF TIME. John Updike. TOWARD THE END OF TIME.
New York: Alfred Knopf, 1997. First edition. Uncorrected proof. SIGNED card laid in. Fine in blue wraps announcing a 75,000 copy first printing.

[Book #48465]       Price: $100.00
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CONFETTI #14: "Oh, I lion hunter in the jungle dark . . ."; Limited Edition, Signed Silkscreen Print. Kurt Vonnegut, Jr. CONFETTI #14: "Oh, I lion hunter in the jungle dark . . ."; Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Origami Express), 2004. First edition. One of 57 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

[Book #48655]       Price: $375.00
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CONFETTI #16: "Educating a woman is like . . ."; Limited Edition, Signed Silkscreen Print. Kurt Vonnegut, Jr. CONFETTI #16: "Educating a woman is like . . ."; Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Origami Express), 2004. First edition. One of 55 copies SIGNED and numbered in pencil by Vonnegut. One-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

[Book #48657]       Price: $375.00
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CONFETTI #21: "My father said . . ."; Limited Edition, Signed Silkscreen Print. Kurt Vonnegut, Jr. CONFETTI #21: "My father said . . ."; Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Origami Express), 2004. First edition. One of 52 copies SIGNED and numbered in pencil by Vonnegut. Two-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

[Book #48662]       Price: $375.00
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CONFETTI #41: "A truly terrifying moment . . . "; Limited Edition, Signed Silkscreen Print. Kurt Vonnegut, Jr. CONFETTI #41: "A truly terrifying moment . . . "; Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Origami Express), 2006. First edition. One of 65 copies SIGNED and numbered in pencil by Vonnegut. Three-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

[Book #48682]       Price: $375.00
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CONFETTI #42: "Women seldom love their husbands."; Limited Edition, Signed Silkscreen Print. Kurt Vonnegut, Jr. CONFETTI #42: "Women seldom love their husbands."; Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Origami Express), 2006. First edition. One of 66 copies SIGNED and numbered in pencil by Vonnegut. Three-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

[Book #48683]       Price: $375.00
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CONFETTI #43: "We are a disease . . . "; Limited Edition, Signed Silkscreen Print. Kurt Vonnegut, Jr. CONFETTI #43: "We are a disease . . . "; Limited Edition, Signed Silkscreen Print.
(Lexington, KY: Origami Express), 2006. First edition. One of 67 copies SIGNED and numbered in pencil by Vonnegut. Two-color silkscreen print on white Coventry cotton paper measuring 11 x 15 inches. According to Vonnegut, "Confetti is Origami's response to the in-your-face lack of meaning or message in so much modern art, starting, perhaps, with Mondrian, and of course excluding the strikingly communicative Cubists, but surely including the intellectually and morally blank works by the so-called 'Abstract Expressionists.' Origami says to the latter, with pictures as didactic as this one, 'If you have absolutely nothing to say to anybody, can't you please shut up?'" Fine.

[Book #48684]       Price: $375.00
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