Lexington KY: Anvil Press, 1986. Hardcover. Number 11 of 100 copies. According to an article by Burton Milward, “Private Press Tradition in Lexington, Kentucky,” published in 1992 in the Kentucky Review, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. This Greek tragedy in five acts, written in verse, was composed by Racine at the age of 27 and performed at the Court of Louis XIV. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel, a prolific German artist who emigrated to the United States during World War II. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer’s American & Andromaque uncial types. 51 pages. PRI/031314. Fine / Very Good.
New York: The University Society Publishers, n.d. Hardcover. circa 1900. Edition Royale. Very Good green cloth 32 volume limited edition set. Paper title labels with titles in red and black to spines of all volumes. Limited to 1,000 copies, this set not numbered. Ruffling of page edges, slight wear to boards, otherwise near fine. Volume I has a few speckles of white paint to front board. This set may require an extra shipping fee. Literature. LIT/4083. Very Good.
London: Chappell & Co., 1893. Paperback. This is a very scarce item with an interesting history. J.M. Barrie (1860-1937) and Arthur Conan Doyle (1859-1930) met early in their writing careers when they both wrote for the magazine The Idler. They were both Scottish and passionate about cricket, and they became great friends. Their odd collaboration in writing this operetta came about because Barrie had agreed to write the libretto. He became ill, however, perhaps suffering a nervous breakdown, and his friend Doyle came to his rescue by collaborating with him on the work. Despite their efforts, the operetta was a failure, which apparently bothered them very little. In the original printed wrappers. This is a very nice copy of this uncommon work, particularly in this condition. It is a variant issue of this unusual collaboration. Housed in slipcase with the bookplates of Lord Esher and Clark Hunter. LIT/100709. Very Good.
. An original drawing by Aubrey Beardsley. Beardsley (1872-1898) is the best known illustrator from the British 1890s. He lived a tragically short time, dying of tuberculosis at the age of 25. This lovely major work, the epitome of Beardsley’s style of art nouveau, is for the spine of the binding cases of Sir Thomas Malory, Le morte Darthur, published by J. M. Dent, 1893-94, Beardsley’s first important commission. The book's title (spelled incorrectly as “La Morte Darthur”), author, publisher, and date are included in the design, which is in fact drawn on four separate pieces of paper that have been adhered together. Malory's Le Morte Darthur, published by Dent has been described as incomparable. The same can be said of Aubrey Beardsley's beautiful and remarkable designs (a term he preferred to "illustrations"). Beardsley was only 20 years old when Dent commissioned him to do all of the designs for this work. It was a leap of faith by Dent in taking a chance on an unproven artist. The illustrations were done during 1892-1894 for the initial issue in parts, beginning in June 1893. The design is done in ink on paper with pencil under-drawing showing the change from the initial position of the leaves, on four separate pieces of paper, the title and top border inset above the ornamental panel ; 27 x 6.7 cm. Framed. In fine condition. Provenance: J. M. Dent. Exhibited: “Burne-Jones, The Pre-Raphaelites, and their Century,” Peter Nahum, London, 1989, 165 (listed in catalogue vol. I, p. 166-167, reproduced. vol. 2, pl. 124); “Beautiful Decadence,” Japan, 1998, 7 (reproduced in catalogue). Literature: Ian Fletcher, Aubrey Beardsley, 1987, p. 128-129; A. E. Gallatin, Aubrey Beardsley: Catalogue and Bibliography, 1945, p. 33; Mark Samuels Lasner, A Selective Checklist of the Published Work of Aubrey Beardsley, 1995. ORIG/011116.
San Francisco: Pomegranate ArtBooks, 1994. Hardcover. First Edition. Signed and inscribed by Lois Mailou Jones, dated October 7, 1995. African-American painter Lois Mailou Jones (1905 - 1998) is best known for her paintings of Martha's Vineyard, Paris, Haiti, and Africa. Illustrated with 130 full color reproductions. Very good in purple cloth boards with silver title to spine and front cover. Small indent / scuff mark to front cover. Small blue marking to fore-edge of text block (not a remainder mark). Slight scent of moth balls. In very good black illustrated dust jacket with yellow title to spine and front panels. Corresponding indent / scuff mark to front panel of jacket. Minor wear to jacket including rubbing to covers, a short closed tear along top edge of rear panel, minor wear to edges, and a small chip to edge of rear flap. Size: Large quarto. 142 pages. ART/092415. Very Good / Very Good.
London: E. and R. Nutt and R. Gosling, 1734. Hardcover. SCARCE. The Second edition, corrected. Covers abatement, affidavits, pleas, assignment, bankruptcy, bonds, courts, creditors, deeds, evidence, executors, heirs, idiots & lunaticks, limitations of suits, mortgages, titles, will, writs, etc. Quarto. Very good in original full leather binding with red leather label and raised bands on spine. The front cover is detached with slight evidence of prior repair to hinge. Heavy scuffing and wear to boards including chips to the leather and spine ends. The interior is very clean with a few light smudge marks and previous owner's name to front endpage and top of title page. Printed in Roman, Italic and Gothic typefaces. A good candidate for restoration. 417 pages + index. Law. LAW107181. Very Good.
Milano: Dalla Societa Tipografica de'Classici Italiani, 1806. Hardcover. Four volumes. In three quarter vellum with light blue paper covered boards. Gilt titles on black leather labels to spines. Minor chipping to title labels and to paper along edges of boards. Minor soiling to boards of all volumes and slight darkening to spines. Dampstaining to boards and spines of volume II and light dampstain to margin of first few pages of volume I. Bookplate of M. Bruen to front pastedown of volume I. Engraved frontispiece portrait of Monsignor della Casa to volume I. Interiors are clean overall with a few light smudge marks and a few spots of foxing. Letterpress on laid paper. The author was Archbishop of Benevento. In Italian. Volume I, 347 pages; Volume II, 352 pages; Volume III, 263; Volume IV, 386 pages. ITA109211 This set may require an extra shipping fee. Very Good.
New York: Architectural Book Publishing Co., Inc., 1929. Skidmore, Louis. Hardcover. Folio. Dark brown cloth boards with gilt title to spine and front board. Minor fraying to spine ends, bumping to top front and rear bottom corners, and light scuff mark to front board. The interior is very clean overall with a few smudge marks. Illustrated with sketches in pen, pencil and drypoint, and photographs by the author. Includes beautiful engraved frontispiece. 246 pages. ARCH/092707. Very Good Plus.
Cheloniidae Press, 1984. Hard Cover. Number 19 of 60 copies for the Deluxe Edition with an extra suite of prints. Signed and numbered by the book artist. There were 225 copies in the standard edition. This beautiful book is in a unique custom binding designed and executed by Robert Wu at his studio in Toronto in 2018. Robert is an exceptionally talented Taiwanese-Canadian designer bookbinder and paper marbler from Toronto, where he has lived since 2006. He began binding books in the 1990s and studied with several master binders. His splendid bindings can be found in public and private collections in Canada and the United States and he has received several awards. His specialization is in the grand tradition of French Art binding - Reliure d'Art. His eight years of architectural training is evident in the quality of his designs and the precision of his execution. The deluxe edition includes a suite of signed and numbered wood engravings and one etching by Alan James Robinson, a master printer and artist who established the Cheloniidae Press, later called The Press of the Sea Turtle, in 1979. The text used for this edition was first published in 1650, “corrected and much enlarged by the author.” English author Sir Thomas Browne (1605 - 1682) was fascinated with the natural world. In this text he describes a variety of horned animals and ponders the varying medicinal value of their horns. His text has been beautifully printed and illustrated by Robinson with unicorns, horned beetles, a walrus, a narwhal, and more. Robert's imaginative and marvelous binding is in red leather with a black spine label with title in silver. The red leather binding is stamped with the title in white, black, and blind running vertically from top to bottom of both covers. The front cover has an elaborately embossed white leather inlay with a faux ivory oval ornament with an illustrated narwhale horn. The rear cover has the same inlay with a portrait of Thomas Browne in the faux ivory. Marbled endpapers from Robert's studio with his binder's seal on the rear pastedown. Printed in Van Dijck Monotype on obsolete Whatman Paper, Blue White Laid. The book, prospectus, and suite of loose plates are housed in a custom clamshell box covered in beige linen. In fine condition. Unpaginated. [56 pages] ARTB/092118. Fine.
Wilmington, DE: by the author, 1908. Hardcover. Signed by the author on the front endpaper of volume one. Very good condition bound in green cloth with faded titles to spines. Browning to spines and wear and some discoloration to boards. Occasional small spots of foxing to all volumes. Some of the pages remain unopened and some have been opened poorly leaving closed tears along the edges. Includes many illustrations. This set may require an extra shipping fee. 1179 pages. Very Good.
London: T. Unwin Fisher, 1898. Hardcover. First English edition of Conrad's first collection of short stories, published in both America and England in 1898. Author's presentation copy, inscribed “For J. B. Pinker, Joseph Conrad.” The book marks the first stage of Conrad learning to write for popular magazines: "in that book I come nearer to the popular notion of tale-telling than in any previous work of mine" (writing to Unwin, Collected Letters, II., p.48). Pinker was one of the first literary agents in London, and became one of the most important agents of the twentieth century, with such clients as H.G. Wells, Stephen Crane, Henry James, and Ford Madox Ford. Pinker was “superbly attuned to the changing economic climate of the 1890s publishing market and served the interests of several 'difficult' writers with a skillful blend of shrewdness, tact, generosity, and long-suffering” (Knowles and Moore). This could not have been better demonstrated than with his relationship with Conrad, in which the agent was required to play many roles: friend, banker, father-figure and general factotum. Pinker could see Conrad's potential, but in many ways the author was ill-placed to survive the cutthroat market of the time, committed as he was “to a form of experimental novel, the unpredictable gestation of which involved an enormous amount of energy, time, and living costs” (op.cit.) As Conrad later gratefully acknowledged, Pinker believed in him and backed him for the long term, bankrolling him through the lean years when he had yet to be a commercial success, in the hope of future payments and royalties. Conrad was forced to split himself between his long serious projects like Nostromo and Under Western Eyes and more commercial journalistic material. Tensions were high between author and agent in these years between 1904 and 1910, with Pinker being asked for larger and larger advances to fund medical costs, household bills and overseas trips. The agent's requests for itemization and justification were resented by Conrad, and he sometimes resisted his agent's attempts to link payments to fixed amounts of delivered copy. In December 1909 Pinker's patience finally snapped after the author had been working on Under Western Eyes for two years and then broke off, against his agent's wishes, to write for the English Review. Pinker threatened to cut off all funds; his author retaliated by threatening to throw the manuscript into the fire. After an explosive row the two did not speak for two years. After the dramatic upturn in Conrad's popularity and finances after 1914 the author could finally begin to settle his debts, and the two men resumed their relationship, meeting weekly, spending weekends at each other's homes, and even collaborating on a screenplay. Conrad later wrote: “those books which, people say, are an asset of English Literature owe their existence to Mr. Pinker as much as to me. For 15 years of my writing life he has seen me through periods of unproductiveness[,] through illnesses[,] through all sorts of troubles...” (Collected Letters, V, p.619). Conrad was deeply affected by his agent's sudden death in 1922. Bound in original green cloth with light bumping to corners. Offsetting to free front endpaper not affecting the legibility of inscription. Text block has pulled away from front hinge but still tight although some interior gutters visible. Library stamp on rear pastedown, offsetting and piece of rear free endpaper torn away. Housed in a green cloth slipcase. With bookplate of book collector Stanley J. Seeger. Very good condition despite noted flaws. 297 pages. LIT/011116. Very Good.
Baltimore: Horn-Shafer Company, 1941. Hardcover. Limited to 250 copies. Signed and inscribed by the author: "To F.C. Latrobe compliments of Bruce Cotten Sept 4th 1941." Born in Wilson, North Carolina, Bruce Cotten (1873 - 1954) was a serious collector of books, art, and ephemera relating to North Carolina. Much of his collection can now be found at the Louis Round Wilson Library of the University of North Carolina library. Bound in original brown cloth with gilt title to spine. Very subtle dampstain to front cover. Offsetting to endpages and a few small spots of foxing to interior, but overall clean and bright. Includes 100 facsimile impressions of titlepages. 66 pages plus 101 plates. BOB/022814. Very Good.
[New Jersey]: [1862, 1867]. A handwritten notebook containing a compilation of Columbian College faculty member and president George Whitefield Samson’s theological lectures delivered in October 1862, transcribed by Leonidas Coyle (1840-1906) while he was attending the college. Samson (1819-1896) served as president of Columbian College, later George Washington University, during the critical years of the Civil War. He was also the pastor at DC’s E Street Baptist Church. Samson was a noted author of several books and monographs on theology and spiritualism. It appears that the lectures were compiled into this volume later as Coyle signs and dates the free endpaper in December 1867. He also labels the book with his name and the name Princeton Theological Seminary - probably written in the book when Coyle was a tutor at the Seminary. He became the pastor of the First Presbyterian Church of Bridgeton, New Jersey. He was born in Washington DC and died there at the age of 64 while visiting his sisters. His home in Bridgeton is now a bed and breakfast. The transcribed lectures were first written on the recto side of 6 x 7.5 inch notepaper, then turned over and upside down to continue on the verso. There is also a four-page insert written on 4 x 5 yellow paper. The lectures are written in a fine hand primarily in ink but with a few pages also in pencil. On a few pages a different person has written in large blue pencil the name of the book of the Bible discussed in that lecture. Otherwise the pages are in very good condition save for the free endpapers, which have offsetting in the front and glue stains in the rear including on the title page. There are also a few pencil drawings by Coyle, who was an amateur artist/cartoonist. The book’s binding is not in good condition. The boards are detached and the marbled paper covers are chipped, worn, and bumped; the leather spine is mostly worn away, exposing the signatures. Still an interesting piece of Americana. Unpaginated [86 pages plus 4 page insert]. REL/071117.
London: Leonard Smithers, 1896. Hardcover. First Edition. Includes six illustrations engraved on wood by Charles Conder. Stonehill and others state that this is the rare primary binding; copies are more commonly found in blue cloth. Very good plus in original yellow cloth boards with black title to spine and front board. Minor bumping to spine ends and bottom corners of boards. Slight darkening to spine. A few spots of foxing to early and late pages, otherwise the interior is clean. Housed in a half-morocco slipcase with purple cloth boards. The case is titled in gilt with gilt decoration and raised bands. Some discoloration, light soiling, and minor rubbing to case. The Artist and the Book 62; Nelson Smithers 1896. 12; Stonehill 51. 107 pages. LIT/052110. Very Good Plus.
London: John Lane, The Bodley Head, 1897. Paperback. Bodley Booklets Number Two. First Edition. Rare. A send-off of Richard Le Gallienne's 'The Quest of the Golden Girl' written by David Hodge and George M. Matheson, two Glasgow journalists writing under the pseudonym of Richard de Lyrienne. Near fine in orange paper wrappers with brown title to spine and front panel. There is a short closed tear to the front end page; otherwise, in fine condition. Housed in a portfolio within a grey cloth slipcase with black and gilt leather title label to spine and bookplate of Mark Samuels Lasner on inside board of portfolio. 98 pages plus 4 pages of ads. LIT/052010. Near Fine in Fine slipcase.
Pasadena, CA: Deeply Game Productions, 2012. Hardcover. Number 1 of 7 copies. Signed and numbered by the book artist. Sara Press is a photographer, printer, and book artist whose work addresses science, nature, and the intricacies of our culture. This is a suite of four etchings by Ms. Press that depict contemporary mixed-martial-arts fighters. The accompanying text has been appropriated from a panther / bear fight advertising poster from the 1850s. The text describing animal fights is juxtaposed with the prints of human fighters to make an important statement on violence. The typeface is designed by Dan Mayer. Letterpress printed on a Vandercook No. 3 Proof Press. The loose prints and text pages are housed in a solid maple box with title burnt into the lid. This book was made in California and East Coast humidity has caused the box lid to warp a little along the edges. Unpaginated. ARTISTSBOOKS/030613. Near Fine.
Rockville, MD: Erik Delfino, 2015. Number 5 of 10 copies signed by the book artist. A stunning production by book artist and photographer Erik Delfino. In his accompanying pamphlet about the 1964 fair, Delfino writes that his parents took him to the fair when he was four years old. His memories are still vivid and treasured, and he hopes that the photographs of the still remaining structures that he took for this book at the fiftieth anniversary celebration have captured the spirit of the fair. The photographs and text are digitally printed on loose sheets of 19 x 13 inch Epson Exhibition Fiber paper. The twenty-five striking and evocative color photographs are of the structures still remaining at the fair site. They are bold and often abstract and geometric. The photos are interspersed with text offering his brief impressions from viewing the site. The photos are followed by a leaf with pictures of Delfino and his parents on the day they visited the fair. There is a table of contents on the colophon page. The leaves are housed in a taupe cardboard folder that is housed in a blue cloth case, which is encased in a 19.5 x 14 inch stainless steel box with an impression of the iconic stainless steel unisphere. Includes a copy of Cotter and Young’s The 1964-1965 New York World’s Fair. Unpaginated. ARTISTSBOOK/112916.
London: Smith, Elder, 1864. Hardcover. First Edition of author's first book. The poet and minister Richard Watson Dixon (1833-1900) was a friend of William Morris and Edward Burne-Jones from their days together at Oxford. He contributed to the Oxford and Cambridge magazine, and later became a friend and correspondent of Gerard Manley Hopkins. He dedicated this book to Burne-Jones. Bound in original red cloth with gilt title and author to spine. Fading to spine and to part of covers adjacent to spine otherwise in very good condition. Interior is clean and tight with light aging to page margins. A very nice copy, uncommon in this condition. 152 pages plus one page of ads. POETRY/082211. Very Good.
London: George Bell and Sons, 1890. Hardcover. First Edition. Author's scarce first book. Very good in original red cloth boards with gilt title to spine. A few spots of soiling to the boards, minor wear to edges, light browning to the spine, and a few spots of foxing to interior, but still a nice copy. The signature of the previous owner, B. Wallis, is written on the front end page. 250 pages plus 2 pages of ads. LIT/052010. Very Good.
Boston and New York: C.T. Brainard Publishing Co., circa 1920. Hardcover. Volume I: The Adventures of Joseph Andrews and his friend Mr. Abraham Adams, parts I & II; Volume II: Tom Jones, parts I & II; Volume III: Tom Jones, parts III & IV; Volume IV: Amelia, part I; Volume V: Amelia, part II and Jonathan Wild; Volume VI: Miscellaneous Writings, parts I & II. This set is attractively bound in three quarter tan leather backed marbled paper covered boards. Maroon leather title labels and tan leather volume labels to spines of all volumes. Chip to heads of spines of books III and IV. Corner of title label missing from volume II. Light wear to corners and edges of all volumes. Pristine interiors with marbled endpages. Each part begins with a frontis illustration and tissue guard (12 in all). An attractive set. LIT/100407 This set may require an extra shipping fee. Very good plus.
New York: Hodder and Stoughton, (circa 1906 - 1913). Hardcover. A scarce set, very uncommon in original box. Each volume is bound in color illustrated paper covered boards. Each has a three hole stab binding with cord sewn through. The paper covering the spines of each volume remains in some places, but is mostly no longer present. The bindings all remain secure thanks to the cords. The middle cord of The Wood Brownies has come loose. Each volume is printed in green ink with illustrations. Small spots of foxing are scattered throughout each volume. All four volumes are housed in the original brown paper covered box with dark brown title to front cover. The box is heavily worn with closed tears along the hinges and pieces of the top flaps missing. The paper covering the box is rubbed and worn. Each book is 29 - 32 pages and measures 5.5 x 2 inches. The box measures 9 x 6 inches. CHILD/081717. Very Good.
Belfast, ME: Dudley Zopp, . Number 124 of 175 copies. Signed by the author and artist. "A Butterfly Careless" includes 37 haiku-like poems by Andrew Gay and four monotypes by artist Dudley Zopp. The two met during meetings of a local writers' group, and discovered they had similar artistic interests. "I think he wanted to talk to me about doing the book because my sensibilities about the natural world were similar to his," Zopp said. "He was just so very intensely involved with people and with the natural world." Gay, both a physician and poet, died in 2004 and Zopp's words are taken from his obituary. Ms. Zopp graduated from the University of Kentucky with a B.A. and M.A. and completed postgraduate studies in Drawing and Painting at the Hite Art Institute, University of Louisville. She now lives in Lincolnville, Maine. Zopp finds inspiration in geological processes and cultural histories of place. Her engagement with restoring habitat where she lives feeds directly into her work, which ranges from site specific installations to paintings, woodcuts and limited edition books. Poems typeset in Dante and printed on Mohawk Ultrafelt Text paper. Images from original ink monotypes are printed as offset duotones. Printed at the renowned Stinehower Press in Lunenburg, VT. Bound in a green Fabriano Ingres paper with title in black. Housed in a tan cloth slipcase with an original monotype laid into a debossed panel. A lovely book in fine condition. 7 x 7 inches. Unpaginated. PRI/111517.
New York: Random House, 1947. Hardcover. Second Printing. SIGNED BY 25 CAST MEMBERS FROM THE BROADWAY PRODUCTION. The signers include John Carradine, Estelle Winwood, Le Roi Operti, Martita Hunt, Nydia Westman, Sandro Giglio, and Millicent Brower. The play ran for two years on Broadway and had a revival a few years later. Bound in original dark blue cloth with title and author in gilt to spine. Very good minus with some chipping and bumping. No dust jacket. Signatures are on free front endpaper. half title, and title pages. Interior is clean with three black and white photos from the production. DRA/071812. Very Good.
Philadelphia, PA: Stedman, Brown & Lyon, 1873. This map is from [O.W.] "Gray's Atlas of the United States with General Maps of the World, Philadelphia, Stedman, Brown & Lyon 1873." It is one of many variations of reprints variations of reprints from Colton's (1800-1893) original "General Atlas," that was printed from 1857 through 1888. Colton may have copied this map's format from Sidney E. Morse (1794-1871) and Samuel Breese' (1802-1873) 1845 version of "Maryland and Delaware. (with) District of Columbia." Later, Publisher, A.J. Johnson used Colton's format of this map in his 1860 edition of "Johnson's New Illustrated Family Atlas." Johnson did not use the famous "Colton" border, but rather created his own and substituted an engraving of the US capitol where the inset of Washington, D.C. was. Gray completely omitted any decorative border in this example; however, portions of the map extend out beyond the simple border to where the Colton and Johnson decorative borders would have been. The map is a steel engraving. Delaware and Maryland are divided into hand colored counties and cities, major roads, railroads, geographic details, and major bodies of water featuring the Chesapeake Bay, Potomac River, Delaware Bay, and the Atlantic Ocean. Inset in lower left corner presents "District of Columbia" with "references" identifying major sites by number and a "Scale of Miles." The reverse page contains "Gray's Atlas Map of New Jersey. 97." Fading on edge of page and two small tape markings on reverse. Size of Map: 30.2cm X 41.5cm (11 7/8" X 16 1 4") Framed. #45460. Near Fine.
2011. Hardcover. Hand-lettered Manuscript. Using the same materials and techniques that have been employed by scribes for centuries, calligrapher Maryanne Grebenstein has created a unique manuscript containing Pangur B'an, a ninth century poem written by an Irish monk. The poem is a playful story, told by the monk, of the similarities between his work and that of his cat, Pangur B'an. The artist successfully captures the playful tone of the poem with her calligraphy, layout, and embellishments.Bound by Bexx Caswell at the White Sparrow Bindery (Somerville, MA) in green and black paper covered boards with hand written title label pasted down on the front cover. The paper used for the cover was handmade by Cave paper. The manuscript was hand lettered in the Uncial style, using Moon Palace Sumi ink and Soennecken pen nibs on Ingres d'Arches MBM text paper. It is decorated with raised 23 karat gold leaf and Winsor & Newton gouache. Each page contains a unique layout. The manuscript is signed and dated by the book artist and binder, and described in the colophon. Measures 10 inches by 7 inches. [16 pages.] Calligrapher and book artist Maryanne Grebenstein (Hingham, MA) is a student of Sheila Waters, Jeanyee Wong, Robert Boyajian and others. She owns The Abbey Studio which offers professional calligraphy services and classes and Turn-in-the-Path Books which produces unique and limited edition books and broadsides. Maryanne also teaches at the North Bennet Street School in Boston and is a Visiting Artist at the Corcoran College of Art+Design in Washington, DC. Fine.