tong gary (13 Ergebnisse)

Paperback. Zustand: Fair. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Zustand: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: Very Good. Tong, Gary (illustrator). Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Tong, Gary (illustrator). Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Tong, Gary (illustrator). No Edition Stated. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Tong, Gary (illustrator). No Edition Stated. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:0720709466.

1st ed. Short tear in bottom edge of dust jacket back panel. Used - Very Good. VG hardback in VG price-clipped dustjacket Used - Very Good. VG hardback in VG price-clipped dustjacket.

Paperback. Zustand: As New. New York, 1979; illustrated paper covers; mild edge wear; 8vo - over 7 3/4" to 9 3/4" tall; interior clean and unmarked; 47 pages.

Trade paperback. Zustand: Good. Gary Tong (Line Drawings) and Terry McGinniss (Pho (illustrator). Format is approximately 7 inches by 9 inches. xi, [1], 116 pages. Notes. Bibliography. Caring For and Displaying Quilts. Glossary. Books About Quilting. Errata slip at half-title page. Decorative cover has some wear and soiling. Some page soiling. 48 pages of full-color pictures; directions and patterns for four quilts. (from back cover). Not only informative regarding the history of doll/child quilts but there's also how to and some workable patterns. Bruce A. Johnson was the director of the Museum of American Folk Art who was 27 years old when he died in a tragic motorcycle accident. The Folk Art Museum is one of New York's smallest museums, but under Mr. Johnson's direction it became one of the city's liveliest and more controversial as he sought to redefine and enlarge the boundaries of folk art. He joined the museum in 1971 after graduation from Wesleyan University, Middletown. Conn., and was named assistant to the director. He became acting director in 1974 and later that year was named director. At the time of his death he was working to complete a catalogue to accompany a show of baby and doll quilts scheduled at the museum. From a article by Lisa Hammel published in the New York Times at the time the exhibition opened. Quilts in recent years have been a popular subject for exhibition, in everything from museums to banks. Contemporary quilts, traditional quilts, quilts made by children, quilts made by communities. But what has not been seen in recent memory is a show devoted to a special kind of quilt: those made specifically for children. This gap is filled by the Museum of American Folk Art with a show called "A Child's Comfort: Baby and Doll Quilts." It would be natural to assume that the museum walls are now being hung with lots of pink and blue animals, alphabet blocks and other nursery paraphernalia. But until well into this century, children were not regarded as separate entitiesâ"as Gesell, Spock and Piaget have explained they areâ"but rather as little adults. Children's clothes, after all. were mostly pareddown versions of adult clothing. And so it was with children's quilts. These too were small versions of adult quilts, with all their antic colors. On the other hand, when the quilt got scaled down to child size, something unusual sometimes happened. Instead of the patterns that are repeated many times over on a large area, the quilter often chose to take one traditional motif, center it on the quilt and then create a border around it, often quite elaborated. Many of the quilts thus have the look of primitive paintings. The Star of Bethlehem. also known as Sunburst. was one of the most popular traditional motifs for children's quilts. Perhaps it was the association with the infant .Jesus. But in a number of these star quilts, there is only one large central motif. A rather startling example of this is a quilt dated 1910 in which the pieced diamond shapes radiate out in concentric circles of alternate light and dark colors. The effectâ"very modern is the optical illusion of bands of pulsating color. Perhaps because the quilters were working on a smaller scale, there is also sometimes a rather daring application of imagination that might not have been tried on a larger work. On one rather crude, colorful crazy quilt, for example, a large rooster has been embroidered on a dark background in the center. On another, a house is depicted, with cutout appliques of children and animals standing before it. There are repeat patterns as well, of course. Some of them use figures, along with the traditional geometric abstractions, but the figures are more likely to be stylized flowers and birds, or homely objects, than nursery animals, One traditional repeat pattern used with some frequency was, not surprisingly, baby's blocks, of which there are several examples in the show. The exhibition of 64 quilts, most of which come from Pennsylvania and upstate New York, and date from 1830 to 1930, was put together by Josephine Rogers, who acted as guest curator and the late Bruce Johnson, who was the director of the museum. A book is to be published in conjunction with the show by Harcourt Brace Jovanovich. Although originally meant to double as a catalogue, it unfortunately won't be out until early January. First Edition [stated], presumed first printing.