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Marquand Volker and Ulli Leitpold, a villainous pair of rogues, are as notorious for their treachery as they are for their skill with blade and bludgeon. No trick, no guile, no deceit is beneath these black princes of the underworld in their nefarious schemes to save their worthless hides and line their pockets.

In the fall of 1899, Charles A.A. Dellschau (1830–1923), a retired butcher from Houston, embarked on a project that would occupy him for more than 20 years. What began as an illustrated manuscript recounting his experiences in the California Gold Rush became an obsessive project resulting in 12 large, hand-bound books with more than 2,500 drawings related to airships and the development of flight. Dellschau’s designs resemble traditional hot air balloons augmented with fantastic visual details, collage and text. The hand-drawn “Aeros” were interspersed with collaged pages called “Press Blooms,” featuring thousands of newspaper clippings related to the political events and technological advances of the period.After the artist’s death in 1923, the books were stored in the attic of the family home in Houston. In the aftermath of a fire in the 1960s, they were dumped on the sidewalk and salvaged by a junk dealer. Eight made their way into the collections of the San Antonio Museum of Art, the Witte Museum and the Menil Collection; the remainder were sold to a private collector. Dellschau’s works have since been collected by numerous other museums including the American Folk Art Museum, the High Museum, the John Michael Kohler Arts Center and the Philadelphia Museum of Art. Like the eccentric outpourings of Adolf Wölfli, Henry Darger and Achilles Rizzoli, these private works were not created for the art world, but to satisfy a driving internal creative force. Dreamer, optimist and visionary, Charles Dellschau is one of the earliest documented outsider artists known in America. This first monograph on Dellschau includes an essay by art critic Thomas McEvilley, an essay by critic Roger Cardinal of the University of Kent, a text by James Brett of the Museum of Everything in London, an essay by Tom Crouch of the Smithsonian Institution's Museum of Air and Space, an essay by Barbara Safarova and a biographical overview by artist and independent curator Tracy Baker-White.

Think “Roy Lichtenstein” and you probably conjure up comic strip-based paintings and the colorful dots that comprise them. Lichtenstein intended his now iconic depictions of characters in tense, dramatic situations as commentaries on modern man's plight, in which the media--magazines, television and advertisements--shapes everything, including our emotions. Many of the same concepts behind the artist's paintings apply to the significant number of prints he produced in the latter part of this life. Focused on works created from the mid-50s until his death in 1997, this exhibition catalogue gives a full overview of Lichtenstein's printmaking accomplishments. Accompanying reproductions of the artist's works are essays by two outstanding scholars: Dave Hickey, a MacArthur Award-winning writer on art and culture; and Elizabeth Brown, who wrote her thesis on Lichtenstein at Columbia University, under the tutelage of the late Kirk Varnedoe. Approximately 40 prints are illustrated in this elegant, intimately-scaled book, which highlights a specific body of work from one of the most innovative forces in post-World War II art.

In this account of the dilemmas and ambiguities of the 20th-century British Left, David Marquand explores the origins and implications of the central paradox of British democracy. In the 19th century the vote was championed by radicals and opposed by conservatives, yet, since universal adult suffrage came to Britain, Conservative or Conservative-dominated governments have held power for more than 70% of the time. The author was a Labour MP for 11 years before taking part in the creation of the SDP. His previous books include "Ramsay MacDonald" and "The Unprincipled Society".

For the last 5 years, Sean Marquand and Greg Caz have built BBB a Williamsburg, Brooklyn party of Brazilian rare grooves, Tropicalia, funk, soul, samba-rock and all points in between. Although both are Americans, the event has been fuelled by the several years Sean spent in Bahia and Greg's complete immersion in Brazilian music in every and any form, from any era. The party has developed into a local legend with the help of several much-loved underground mix CDs, and their reputation continues t

Fifty Years of Seattle Opera documents the history of the Seattle Opera and was published to mark its golden anniversary. Produced by Marquand Books, the 176-page book was designed by Annabelle Gould and written by writer and composer Melinda Bargreen. The book features archival materials from the Opera, including seventy-five color and twenty-five black-and-white photographs.

From the jacket: The Tents of Wickedness By Peter De Vries. Charles Swallow fancies himself a Marquand sort of hero, but the flashback touched off by the reappearance of an old girl friend turns out to be pure Faulkner. It concerns a childhood incident in a coalbin, too obvious for words, but related with hilarious obscurity. To get Sweetie Appleyard off his moral doorstep, he tries another literary tack, the Scott Fitzgerald; but she goes a little farther as a Free Spirit than he had intended, when he undertook her re-education, and before he knows it she is persuading him to father a child for her out of wedlock. Proust, Graham Greene, Dreiser, Thurber, Hemingway are all sent in in turn, like substitutes from a bench, to save the day - but it's no good. Pregnant, the rebel folds in the stretch, leaving our hero holding the bag in a fine Kafka nightmare indeed. A Joycean delirium climaxes a literary revel also strewn with mimicries of modern poets from Emily Dickinson to Dylan Thomas, in the form of samples of the rather derivative verse Sweetie writes. Written in a dozen styles, this is a gem of parody as well as another narrative treat by "the most reliably funny comic novelist now at large" (ORVILLE PRESCOTT, New York Times). In addition to being a riotous satire of Symbolism and "advanced literature," THE TENTS OF WICKEDNESS packs a sly moral: that nonconformists, rather than transcending convention, aren't quite up to it. Peter De Vries's new novel employs four of the main characters of COMFORT ME WITH APPLES in a work which not only is the author's finest and funniest to date, but, in its rotation of major contemporary styles, brings off a refreshing experiment in form.

[PHOTOGRAPHY]. Ash Kolodner, Kimberly Peirce, Jordan Roth, Rupaul, et al. "Gayface." Seattle, WA: Lucia Marquand. Printed in China by Artron Art Group, 2023. English language. Pink cloth boards stamped black in yellow pictorial jacket. Texts with full-color photos. 11 1/2 x 10 3/4 inches. 59 oz. 232 pp. Much water damage to book and jacket. Page block wavy. Minor tidelines. Page block and boards significantly warped. Use, wear. Text clean. Acceptable to Poor. ISBN: 9781646570041. "These photographic diptychs of LGBTQ people in America express the acute vulnerability of coming out. From 2011 to 2015, Brooklyn-based photographer Ash Kolodner traveled across the United States photographing hundreds of LGBTQ individuals of all ages. They made two consecutive portraits of each of their subjects, photographing them twice during the same sitting: once with eyes closed and then with eyes open. These diptychs symbolize the vulnerability many have felt at the outset of discovering their personal identities, and then the realization and self-actualization manifest in the intimate and profound process of coming out."

'An extraordinarily rich and suggestive work, full of illuminating asides and thought-provoking insights, backed by a formidable mastery of detail. This is a magnificent achievement.' David Marquand In the forefront of contemporary history, this volume displays the same breadth, originality and innovation as the first. The start of intense rivalry between industry, trade unions and the financial sector, to influence policy in postwar Britain, increased in the late 1950s. Macmillan's government succeeded briefly in restoring some of the original wartime consensus after 1961, only to see hopes for Conservative planning wither. Competition among interest groups to settle how the national interest should be defined made Wilson's attempt to create a Labour planned economy almost impossible. Despite the spur of relative decline, modernisation always fell far short of politicians' aims, putting in doubt the ability of even a modern state to achieve its ambitions. A series of crises exposed promises of breakthrough into growth, which governments blamed on the self-interest of institutions - without whose co-operation they still believed they could not govern.

In two centuries of living death, Eric Marquand had never once cried out against the cruel fate that had condemned him to walk forever in shadow. But then, he found the woman he knew was his chosen one--and understood that to possess her was to destroy her... Tamara Dey trembled at the aura of dread and despair that enshrouded this creature of the night. And yet, against all reason, she saw clearly that her destiny was eternally entwined with his, and that she must know--even welcome--the terror and the splendor of the vampire's kiss... For centuries, loneliness has haunted them from dusk till dawn. Yet now, from out of the darkness, shines the light of eternal life...eternal love.

- A rediscovery. WICKFORD POINT follows "The Late George Apley as the second of Marquand's acclaimed and bestselling novels that Back Bay has restored to print.- John P. Marquand is regarded as one of the 20th century's masters of sophisticated domestic fiction, occupying a midpoint on the spectrum between Edith Wharton and John Cheever.

Donald Sutherland, Kate Nelligan. A German agent, temporarily stranded on an island off the British coast, meets a lonely married woman. Based on the best-selling novel by Ken Follet. Directed by Richard Marquand. 1981/color/112 min/R/widescreen.