Description

Jacobson (Oscar Brousse, editor) Kiowa Indian Art: Watercolor Paintings in Color by the Indians of Oklahoma, number 100 of 750 copies signed by the publisher, text in double column in English and French, 30 fine pochoir plates on thick coloured paper, tissue guards, half-title lightly browned, guards a little spotted and frayed at edges but plates very clean and bright, loose as issued in original cloth-backed board portfolio with ties, another pochoir plate mounted on upper cover, rather rubbed, [Hiler 473], folio, Nice, C.Szwedzicki, 1929.

⁂ Scarce ground-breaking work containing superb reproductions of paintings by five young Native Americans: Monroe Tsa-to-ke, Steve Mopope, Jack Hokeah, Spencer Asah and Miss Bou-ge-tah Smokey, chosen from the collection of Oscar Brousse Jacobson. Jacobson stood almost alone at the time in asserting that such painting should be examined as real art, rather than merely tourist pieces. In addition to drawing attention to a generation of emerging artists the plates also provide detailed studies of a lifestyle and costumes that had already been under threat for more than half a century.

Description

Jacobson (Oscar Brousse, editor) Kiowa Indian Art: Watercolor Paintings in Color by the Indians of Oklahoma, number 100 of 750 copies signed by the publisher, text in double column in English and French, 30 fine pochoir plates on thick coloured paper, tissue guards, half-title lightly browned, guards a little spotted and frayed at edges but plates very clean and bright, loose as issued in original cloth-backed board portfolio with ties, another pochoir plate mounted on upper cover, rather rubbed, [Hiler 473], folio, Nice, C.Szwedzicki, 1929.

⁂ Scarce ground-breaking work containing superb reproductions of paintings by five young Native Americans: Monroe Tsa-to-ke, Steve Mopope, Jack Hokeah, Spencer Asah and Miss Bou-ge-tah Smokey, chosen from the collection of Oscar Brousse Jacobson. Jacobson stood almost alone at the time in asserting that such painting should be examined as real art, rather than merely tourist pieces. In addition to drawing attention to a generation of emerging artists the plates also provide detailed studies of a lifestyle and costumes that had already been under threat for more than half a century.

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