Roger B Stein (69 results)

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condition: Good. 1st. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: 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.

Condition: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp. NOT AVAILABLE FOR SHIPMENT OUTSIDE OF THE UNITED STATES.

Paperback. Condition: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

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

Soft cover. Condition: Very Good. No Jacket. 1st Edition. Stated first edition. Accompanies exhibit June 10 - Sept 1975 at the Whitney Museum.

Condition: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Soft cover. Condition: Good. 1st Edition. Softcover in good usable condition. Spine and pages intact. Has a few cosmetic defects such as light stains, penciled price or name, wear/fading to cover, etc.

Soft cover. Condition: Very Good. Artwork (illustrator). 1st Edition. Clean, tight and u nmarked in paperback,

Paper. Condition: Good. ExCat.

hardcover. Condition: fine. Dust Jacket Condition: very good. Many color Illus. Small folio, blue cloth, d.w. (Washington): National Museum of American Art, (1999). Very good.

hardcover. Condition: Good. gallery markings on cover Good paperback, bumped/creased with shelfwear; may have previous owner's name inside. Standard-sized.

Hardcover. Condition: Used - Very Good. Open copy with light wear, clean pages/interiors.

Paperback. Condition: As New. Softcover. Good binding and cover. Clean, unmarked pages. Minor scuff marks to head of spine. Light wear. XV, 239 p. : ill. ; 32 cm.This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

Oversized Hardcover. Condition: Good. Published on the occasion of the exhibition @ National Musuem of American Art, Smithsonian Institution, Washington, D.C. (1999). This volume presents a study of works of art - images & crafted objects - originating between the Civil War and World War II that depict New England, investigating the direct and indirect meanings in this imagery. Notes, artists' biographies, index. Illus., 219 color/b&w. 239p.

Softcover. Condition: Near Fine. A very clean and bright copy. Careful packing and fast, efficient shipping including delivery confirmation. Please note: International and Domestic Priority orders for this item will require additional shipping.

paperback. Condition: Good. Stapled gallery catalogue Light marking and gallery stamp on front cover Gallery stamp on title page Good paperback, bumped/creased with shelfwear; may have previous owner's name inside. Standard-sized.

Hardcover. Condition: Used - Like New. When we think of New England, we envision village greens surrounded by neat, white-framed houses; tall elms and church spires; country stores; Yankee farmers; sailing ships; rocky coastlines; brilliant autumn foliage. Despite the fact that there is a New England of cities, factories, and an increasingly diverse ethnic population, it is the Old New England that Americans have always treasured, finding in it a kind of 'national memory bank'. This beautiful book examines images of Old New England created between 1865 and 1945, demonstrating how these images encoded the values of age and tradition to a nation facing complex cultural issues during the period. The book begins with an introduction by Dona Brown and Stephen Nissenbaum that provides a historical background to the era. Then William Truettner, Roger Stein, and Bruce Robertson turn more directly to New England images and discuss a variety of artistic efforts to historicize the past. They show that paintings of the Revolutionary War, of harvest scenes, or of genteel old New England towns served, for example, to provide reassurance to urban dwellers after the Civil War, to counteract the effects of modernism, and to encourage a sense of community during the Depression. They also examine paintings of coastal New England and favorite haunts of tourists and artists such as Winslow Homer and Marsden Hartley. The many images of Old New England, say the authors, represent shared cultural beliefs -- ways of seeing the present in terms of a mythical past. BEAUTIFUL COPY!!!

Oversized Paperback. Condition: Very Good. INSCRIBED by co-author Stein to another art professor. Very Good, internally clean, solid 8 1/2 x 11 paperback. #. Signed by Author(s).

Saddle-stapled wraps. Condition: Very Good. Inscribed by the author on the title page to the noted American poet William H. Matchett and his wife, Judy: 'For Bill and Judy,/ (signed) Roger.' 32pp., illustrated throughout with b/w reproductions. A nice copy in Very Good condition with light foxing on the wraps and minor shelfwear.

Soft cover. Condition: As New. 1st Edition. Large-format softcover volume, measuring approximately 8.75" x 11.25", is like new. Numerous reproductions, several in color. Catalogue of an exhibition held Mar. 28-May 25, 1997. 123 pages. In the decades following the Civil War, John Douglas Woodward produced hundreds of landscape images of the United States, Europe and the Holy Land for popular books and magazines. This text analyzes the stages his creative process took.

Softcover. Condition: Très bon. Ancien livre de bibliothèque. Edition 1999. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 1999. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: good. A good reading copy. May contain markings or be a withdrawn library copy.

Condition: Good. 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.

Condition: Very Good. Dust Jacket Condition: Very Good. 239 pages. Hardcover. Dust jacket with only minor wear. Full color and black & white illustrations throughout. Clean unmarked text. Record # 750077.

Softcover. Condition: Near Fine. Tight unmarked book in glossy card covers with slight blemish to rear cover edge. ; 8.43 X 5.85 X 0.73 inches; 239 pages.

Hardcover. Condition: As new in shrinkwrap. Navy boards, teal dust jacket with color illustrations on front and rear, xv, 239 pages, richly illustrated in bw and color. "When we think of New England, we envision village greens surrounded by neat, white-framed houses; tall elms and church spires; country stores; Yankee farmers; sailing ships; rocky coastlines; brilliant autumn foliage. Despite the fact that there is a New England of cities, factories, and an increasingly diverse ethnic population, it is the Old New England that Americans have always treasured, finding in it a kind of "national memory bank". This beautiful book examines images of Old New England created between 1865 and 1945, demonstrating how these images encoded the values of age and tradition to a nation facing complex cultural issues during the period. The book begins with an introduction by Dona Brown and Stephen Nissenbaum that provides a historical background to the era. Then William Truettner, Roger Stein, and Bruce Robertson turn more directly to New England images and discuss a variety of artistic efforts to historicize the past. They show that paintings of the Revolutionary War, of harvest scenes, or of genteel old New England towns served, for example, to provide reassurance to urban dwellers after the Civil War, to counteract the effects of modernism, and to encourage a sense of community during the Depression. They also examine paintings of coastal New England and favorite haunts of tourists and artists such as Winslow Homer and Marsden Hartley. The many images of Old New England, say the authors, represent shared cultural beliefs -- ways of seeing the present in terms of a mythical past." - book jacket description "Published on the occasion of the exhibition Picturing Old New England : Image and memory, organized by the National Museum of American Art, Smithsonian Institution, and shown at National Museum of American Art, Smithsonian Institution, Washington, D.C., April 2-August 22, 1999"--Title page verso. Includes bibliographical references (pages 230-235) and index.

Hardbound. Condition: VG/VG. Blue cloth. Blue illustrated dj. 240 pp. Numerous color and bw plates. When we think of New England, we envision village greens surrounded by neat, white-framed houses; tall elms and church spires; country stores; Yankee farmers; sailing ships; rocky coastlines; brilliant autumn foliage. Despite the fact that there is a New England of cities, factories, and an increasingly diverse ethnic population, it is the Old New England that Americans have always treasured, finding in it a kind of "national memory bank". This beautiful book examines images of Old New England created between 1865 and 1945, demonstrating how these images encoded the values of age and tradition to a nation facing complex cultural issues during the period. The book begins with an introduction by Dona Brown and Stephen Nissenbaum that provides a historical background to the era. Then William Truettner, Roger Stein, and Bruce Robertson turn more directly to New England images and discuss a variety of artistic efforts to historicize the past. They show that paintings of the Revolutionary War, of harvest scenes, or of genteel old New England towns served, for example, to provide reassurance to urban dwellers after the Civil War, to counteract the effects of modernism, and to encourage a sense of community during the Depression. They also examine paintings of coastal New England and favorite haunts of tourists and artists such as Winslow Homer and Marsden Hartley. The many images of Old New England, say the authors, represent shared cultural beliefs -- ways of seeing the present in terms of a mythical past.