will cotton (10 Ergebnisse)

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

Soft cover. Zustand: Very Good. Paperback. Binding sound, text clean, light shelfwear; a couple of slight scrapes to front cover. 60-page, oversize, color-illustrated exhibition catalgoue. Heavy book: priority or international shipping may require extra charges. Book.

Paperback. Zustand: Acceptable. VINTAGE SCRIPT FROM THE OLD DAYS. Some shelf wear and tanning to the pages. Some writing in pencil here and there. Still useful a little gem from the old days.ACTING EDITION SCRIPT. Book.

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

Broschürt. Originalgetreuer Einband (Faks.)., (Br.)., 126s., in gutem Zustand., [OSA1,2]., , Deutsch 400g.

Zustand: New. Will Cotton received his BFA from The Cooper Union in 1987. He is represented by Mary Boone Gallery in New York and Galerie Daniel Templon in Paris. Toby Kamps is curator of modern and contemporary art at The Menil Collection, Houston. Fran.

Hardcover. Zustand: Brand New. 172 pages. 11.25x11.25x1.00 inches. In Stock.

Zustand: befriedigend. Sprache: deutsch Taschenbuch ,

Unbound. Zustand: Fine. Original drawing. Pastel and pencil (slightly highlighted with watercolor wash?). Unsigned. Image size 8.5" x 11.5", on artist board measuring 10" x 15". Professionally matted. About fine. A butler catches the bridal bouquet when it sales over the heads of the pink clad bridesmaids and into the doorway where he is stationed. Very much in the style of his many *New Yorker* covers, complete with the usual stripe along the left margin, but unpublished by the magazine. Both a caricaturist and respected portrait painter, Cotton created some of the most arresting of the magazine's covers in the first two or three decades of its existence.

Unbound. Zustand: Fine. Original pastel. Image size matted to 11" x 15". Framed. Signed in lower left ("W. Cotton"). Additionally Inscribed by Cotton in discreet white album ink in the upper righthand corner to fellow illustrator and close friend, R. Roberts Baldwin: "To Baldy (the figure on the left) from W. Cotton." Unexamined out of the frame, but all indications are that the image is fine and completely unfaded. Accompanied by a near fine issue of the published magazine. This St. Patrick's Day cover depicts an African-American man dressed in a festive green sash and Irish-style top hat with affixed shamrock, with a liquor bottle between his knees, passed out on the steps of a brownstone, apparently the victim of overindulgence on St. Patrick's Day, while a redheaded, presumably Irish policeman strokes his chin and looks on, displaying emotions that range somewhere between consternation and perplexity. Both a caricaturist and respected portrait painter, Cotton created some of *The New Yorker's* most arresting covers between 1932 and 1951. This particular cover was the first example cited by then-Art Director of *The New Yorker* Lee Lorenz in a 1997 article when he wrote about controversial "politically incorrect" covers published by *The New Yorker*: "By way of illustration, so to speak, consider this arbitrary sample of zingers from a less enlightened age--not quite B.C., but definitely pre-P.C. Will Cotton's covers, skillfully executed in pastel, are memorable for their elegance and gentle wit. He was a gifted caricaturist, and his portraits of people were always warm, never grotesque. In contrast, the cover accompanying this article, which depicts an Irish cop looking at a homeless black man (3/19/38), manages to abuse both the Irish and blacks." This is very likely the most memorable of the 55 covers that Cotton created for *The New Yorker* and is an excellent example of the pervasive institutional racism that was so often indulged by reasonably progressive publications. We have been aware of the cover for several decades and were beyond surprised when it was brought to us by an art historian and dealer.