Ulysse GeorgesLivre Rare Book
2 653 résultats
1994RO60151102Hatier. 1994. In-8. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Papier jauni. 128 pages. Texte en italien. Nombreuses annotations au crayon et à l'encre dans le texte.. . . . Classification Dewey : 450-Italien, roumain, rhéto-romain
9788561544508-11-72369CRONUS. New. CRONUS unknown
173021858Ohne Ort und Jahr, (ca. 1730). 177 (recte 176) S. 2 mehrfach gefalt. farb. Tafeln (lavierte Federzeichnungen). Fol. Ldr. der Zeit (beschabt und etw. bestoßen). [5 Warenabbildungen]
9983Photocopied illus. printed on one side. Flyer. Porto Alegre: espaco no 1980.<br /> <br> <br> Flyer for a Ulises Carrión exhibition in Porto Alegre. In fine condition. unknown
11038Illus. to recto details on verso. Pictorial postcard mailed. Maastricht: Stichting Agora 1980.<br /> <br> <br> Postcard invitation for the artist’s 1980 presentation in Maastricht mailed to collector Tjeerd Deelstra b. 1937. Fine. unknown
11039Printed on one side with ms. date: “1976.†Single leaf 208 x 150 mm. London: 1975.<br /> <br> <br> Invitation/announcement for the artist’s fourth solo show held at art meeting place in London. The show occurred in 1975 but on this copy the year has been written in as “1976.†The rest of the show’s details have been printed in breaks in the text from page 133 of H.G. Wells’s You Can’t Be Too Careful. In fine condition.<br /> <br> <br> ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 174 & 178 pictured. unknown
7275Text illus. Four unnumbered leaves. Printed sheets 297 x 210 mm. orig. brown wrappers staple-bound. From the first page: Hou Denmark: Egmont Højskolen Feb. 1979.<br /> A very scarce exhibition catalogue crafted by Ulises Carrion. The artist also curated exhibitions on bookworks mail art and rubber stamp books in Emmastad Curaçao; Warsaw; Amsterdam; Rotterdam; Budapest; Alkmaar; Maastricht; Cambridge England etc. The present catalogue with text in English and Danish begins with Carrión thanking the artist Niels Lomholt. He then describes the exhibited materials: "Time pressures didn't allow for a wide research but I believe that the show includes most if not all the significant artists in this field. Some available catalogues and anthologies have been included because they possess a reasonable coherence in character theme or intentions. These criteria rather than dictionary definitions were also applied when deciding what was to be considered as being 'a book.' The show includes quite a number of unbound works; in all cases however they consist of a series of loose works that have been put between the same covers and under a common name. Many of the included items were lent by Aart van Barneveld from the Stempelpaats in Amsterdam."<br /> This exhibition featured the works of Anna Banana Luciano Bartolini Peter van Beveren Cozette de Charmoy Robert Jacks Ray di Palma Pawel Petasz Dieter Roth Ruedi Schill Gabor Toth Dick Walraven etc. A few of the pieces are illustrated.<br /> In excellent condition.<br /> ⧠U. Carrión Quant aux Livres / On Books 2008 p. 210. unknown books
18951185221895 A Lyon, A.-H. Storck, imprimeur-éditeur - 1895 - Exemplaire nominatif à l'attention de Monsieur Bessières - Fort in-folio, broché, couverture rempliée - 282 p. - Nombreuses reproductions photographiques hors texte en N&B + 1 plan dépliant en fin d'ouvrage
2894648758.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
31814737like new. unknown
1848902670.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1848902662.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
6206908054.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
8076Single sheet exhibition invitation torn into ca. two dozen pieces. Amsterdam: Pieter Brattinga Gallery 1981.<br/> <br/> One of Ulises Carrión’s rarest mail art projects with the original mailed envelope sent to the collector Tjeerd Deelstra b. 1937. As the artist intended explained below a small torn portion is not present.<br/> <br/> “In 1981 when the Print Gallery Pieter Brattinga invited Carrión to exhibit his work there Carrión thought of a response project in which he instructed participants to reconstruct in any way they desired the bottom half of an invitation which had been shredded. They were then to sign it and mail it back to the gallery. The lower section of the invitation included a definition of mail art which the artist had torn up and from which he had then removed a small fragment. This way the definition of mail art could never be reconstructed and the instruction given by the artist was impossible to accomplish. The project resulted in 243 responses in all sorts of formats; not only intervened letters but also objects. By making participants reconstruct the invitation the project had a cyclical component that was emphasized by having the word ‘feedback’ in its title. In this way Feedback Pieces takes one step further Carrión’s intentions to reformulate not only the artwork but also the communication system through which it travels.â€â€“Aimé Iglesias Lukin “King Kong Archives: Ulises Carrión on Mail and Art†in Ulises Carrión: The Big Monster 2019 pp. 11-13 pictured.<br/> <br/> Both the envelope and torn-up invitation are in excellent condition.<br/> <br/> ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 120-35 pictured. unknown
0835919609.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1974023315Bloomington , London., Indiana University Press., 1974. Edited and with an Introduction by Thomas F. Stanley. Einbandränder minimal fleckig, die Kanten des Schutzumschlags sind leicht berieben. 8°. H OLeinen mit OUmschlag.
44223187like new. unknown
1988058651.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1988058554.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1988058732.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
42531753like new. unknown
197558516Graz-Wien-Köln, Verlag Styria, (1975). 8°. 111 S., OBrosch. m. illustr. OUmschlag (v. Gregor Traversa).
197564687Graz-Wien-Köln, Verlag Styria, (1975). 8°. 111 S., OBrosch. m. illustr. OUmschlag (v. Gregor Traversa).
9985Black & white illus. Illustrated flyer horizontal & vertical folds. Amsterdam: 1979.<br /> <br> <br> Promotional flyer for the artist’s forthcoming bookwork offered for 12.50 guilders or $6 per copy. In fine condition. unknown
8079Coated paper with black & white illus. Assen Netherlands: 1982.<br/> <br/> The rare promotional poster for one of Ulises Carrión’s experimental public installations; the present copy is in particularly fine condition and has not been folded or creased. Entitled The Robbery of the Year this exhibition was designed by the artist as a test of visitors’ self-restraint. A large diamond was placed on a cushion without any enclosure but with a single spotlight trained on it in an otherwise dark room. Visitors were invited to enter the room while a photographer took pictures of the space and the visitors. An expected theft failed to transpire and near the end of the exhibition the photographer was withdrawn. Soon thereafter the diamond disappeared.<br/> <br/> “De Diefstal van het Jaar was an exhibition of a diamond in which visitors are surreptitiously invited to steal the stone raising interesting questions about viewing and stealing a precious object worthy of public exhibition and evoking images associated with museum heists with subsequent analysis on issues such as the value and ownership of objects on display.â€â€“Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 44 & 164 pictured.<br/> <br/> On his series of public experiments Carrión is quoted as saying: “In my work I use all kinds of materials objects processes and people as formal elements. The final result is only partially determined in advance and the process that leads to that point is influenced by all the factors mentioned above. It is a game without fixed rules and with no winners or losers.â€â€“Guy Schraenen ed. “We have won! Haven’t we†1992 p. 69.<br/> <br/> In excellent condition. unknown
