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A. S. Barnes and Company, Published 1968. Hardcover, 120 pp.; 29 cm; one of 100 copies issued with a color photograph of The Nativity, signed and numbered by the artist, this copy number 21; illustrated with approximately 100 reproductions of the artist's work, in color and black and white.
In Good condition with an Acceptable dust jacket. Cream cloth boards with brown cloth spine, white lettering on spine, Frank's signature reproduced in black on front board as a printed design element. Mild to moderate surface wear, foxing along board edges, rubbing to spine, mild soiling overall. Cloth slipcase not present. Binding tight. Pages clean and unmarked. Book itself is not signed. Laid in as issued, a color photograph of The Nativity, a box construction of weathered boards holding a twig nest of blue eggs; verso carries the printed limitation statement, is signed by Frank in black and numbered 21. Quarter-inch tear at lower edge of photograph, light creasing and mild toning along edges. Also laid in, the announcement for Frank's one-woman exhibition at the Corcoran Gallery of Art, February 6 to March 4, 1962, a single sheet folded twice with the third panel trimmed short, in Very Good condition, year supplied in ink on front panel. Pictorial dust jacket, color reproduction of a 1966-67 canvas across the front panel, has a four-inch triangular tear at the top edge of the rear panel with chipping over the spine, several smaller nicks and tears, and creasing along edges. Moderate shelf wear, toning, scuffing and soiling, some color loss along edges and fading to spine. Now in an archival quality (removable) Brodart cover. Frank (1918-1986) was born Jane Babette Schenthal in Baltimore, trained at the Maryland Institute and the New York School of Fine and Applied Art, studied with Hans Hofmann, and did not turn to painting in earnest until 1947. She built her canvases in layers, cut-out planes standing free of one another by anything from a fraction of an inch to several inches, so the paintings read as relief. Stanton, the architectural historian at Johns Hopkins, supplies the text. The laid-in announcement is for the Corcoran show Stanton discusses at pages 14 and 15; it lists the fourteen oils hung, reproduces Crags and Crevices, and carries a portrait of the artist. Frank's work entered the Corcoran's own collection, alongside the Baltimore Museum of Art and the Smithsonian American Art Museum. Contents: The Sculptural Landscape of Jane Frank; Chronology; Group Exhibitions; Work Represented in Museums and Other Collections; Work in Private Collections; Articles and Reviews; List of Color Plates; List of Black and White Illustrations; Plates.