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Translated from the Italian by Nora Wydenbruck. London:John Calder. (1957). 232pp. Hardcover with dust jacket. Jacket shows some wear and fraying to the edges and spine ends with light soiling to the covers. Binding itself is mildly shelf-worn but otherwise in very good condition. Interior is clean, bright and free of stray markings. Overall, a very good copy with a good jacket.
NY: Franklin Watts. 1985. Illus. With dust jacket. A fine copy. S057.
325pp. Illus. Wrps. Exhibition catalogue. A v.g. copy. TS003
NY: Salander-O\'Reilly. 67pp. Illus. Hard bound. With dust jacket A fine Copy. Exhibition catalogue. TS002.
New York: The Dial Press. (1963). 61 pp. Illustrated. Hardcover w/ dust jacket. A very good copy. The dust jacket has held up remarkably well, with very little wear, and a healthy dust jacket makes for a healthy book (much like this one). Aside from a small address sticker on the inside front board, pages are clean and bright.
WHERE LIBERTY DWELLS: 19TH-CENTURY ART BY THE AMERICAN PEOPLE. Works of Art from the Collection of Mr. & Mrs. Peter Tillou.
[Buffalo]:Albridght-Knox Art Gallery. (1976). 114pp. Illus. Wrps. An excellent copy.
48pp. Illus. in b/w and 2 color illustrations tipped-in. With dust jacket. Book in fine condition. Dust-jacket frayed at edges. Monographien Zur Rheinisch-Westfallischen Kunst der Gegenwart, Band 3.
Boston:The Society for the Preservation of New England Antiquities. 1944. Pp. 60-66 in OLD-TIME NEW ENGLAND, Vol. XXXIV, #4. Also includes Philip M. Marston's DURHAM, NEW HAMPSHIRE, IN 1825.
NY:Bramhall House. (nd). 263pp. Illus. With dust jacket. A v.g copy.
Wroclaw: Zaklad Narodowy im. Ossolinskich. 1982. 178pp. + 112 illus. With dust jacket. Jacket extensively frayed; light foxing to end pages and page edges; hing cracked following illustration section; otherwise, a very good clean copy.
158pp. Illus. Hard bound. With dust jacket. 1st. edition. Book and jacket in fine condition except for inked owners name and sticker on front fly-leaf. S005.
Los Angeles: Black Sparrow Press. 1970. Number 288 of a limited edition of 300. Signed by the author. In decorative cloth slipcase. Condition is As New, still in publisher's original shrink wrap. Slipcase houses a two compartment case which holds 65 drawing reproductions by Duncan. (cfm)
Seattle:University of Washington Press. (1992). 95pp. Illustrated. Softcover. Covers are lightly shelf-worn but otherwise in very good condition. Interior is clean, bright and free of stray markings, though there is just a touch of foxing to several of the pages. Overall, this is a very good copy.
(Cambridge):(Cambridge University Press). (1984). 253pp. Illustrated. Hardcover with dust jacket. The black boards with silver text on spine slightly shelfworn and lightly sun-faded along bottom edges. Internally, aside from an occasional spot or smudge, a very good, clean copy. No previous owners marks or signatures found. The binding is tight and hinges still intact. The dust jacket is shelfworn and soiled, but still in one piece doing it's job. This is a large heavy book and will almost certainly incur additional postage costs. Overall, a very good copy with a near very good dust jacket. * "Kettle's Yard was once four tumbledown old cottages in Cambridge; but when Jim Ede found it, he could see behind its ruinous state the realisation of a lifelong endeavour. He restored it and lived in it; and over the years, as he placed his collection of pictures and sculpture amongst his own furniture, rugs, china and glass, he turned it into something special. He has always been against its being called a gallery; and the idea of the 'museum' with its connotation of a dead orderliness is even less what he was seeking. It is a rich collection of mostly work of the first half of the twentieth century which has its natural place in a home; so that the house is given an immense addition by the art, but the art is given extra life by being lived with."...dj
London; University of Brighton Gallery / Lund Humphries, . Softcover. First Edition. 96pp. Very Good condition. Light shelfwear to covers. Single age spot to fore-edge and light dust spots to top page edges. Otherwise clean and bright, and tightly bound. "His strongly primitivistic style, marking his preoccupation with Zen Buddhism, myths and magic, has made him one of the most potent image-makers in post-war British painting."
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