5 605 résultats
Barcelona, Fundació Vila Casas, s.a. 114 p. Folio. Cartoné editorial. Muy buen ejemplar. Book in English and Spanish. Libro en español e inglés.
300x230 mm. 331 pages. Softcover. Cover corners slightly worn. Spine edges slightly bumped. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
30.5x23 cm. 331 pages. Soft cover. Cover slightly rubbed. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Barcelona, Edit. Giesa, 2017. Numerosas ilustraciones en color y b/n. 205 p. 4º. Tela editorial ilustrada algo rozada. Buen ejemplar. Livre en français.
Geillustreerde kartonomslag, 210 x 210mm., 87pp., talrijke reprodukties in kleur en z/w. Tweetalig Fr/Nl. Honderd meesterwerken van het Etnografisch Museum van Antwerpen en van privekollekties. Cent chef - d'oeuvres du Musee Etnographique d'Anvers et de collections particulieres. Van 16 november tot 2 december 1975 in het Marcel Peeters Centrum. Goede staat.
34pp.text + 48 illustrations in bl/w, cart.cover, dustwrapper (repaired), 21cm., text in german
200pp., with numerous illustrations in colour and in bl/w, 30cm., illustrated softcover, good condition, C99866
Paris, Terrail 1991. In-4 carré broché, couverture illustrée rempliée de 224 pages. Nombreuses photos en noir ou en couleurs, dans et hors texte. Parfait état.
SIGNED BY YAACOV AGAM WITH DEDICATION. Yaacov Agam, an Israeli artist and sculptor is known mainly for his works in the field of optical and kinetic art. This book includes many color photographs of Agam's works and an interview with the artist. 295x260mm. 184 pages. Hardcover with illustrated dust jacket laid in cardboard slipcase. Box edges slightly worn. Slipcase edge bumped and torn (30mm). Spine edges slightly bumped. [SUMMARY]: This rare album of Agam's work and texts, artistically signed by him, is otherwise in very good condition!
SIGNED BY YAACOV AGAM - the eminent Israeli artist and sculptor Yaacov Agam, mainly known for optical (op art) and kinetic art works. The book includes numerous color photographs of Agam's works, as well as articles in both Spanish and English about his art and life. 240x170 mm. 222 pages. Softcover. Cover corners wrinkled. Spine edges slightly bumped. Text block edges slightly stained. Else in good condition.
- Stock, Paris 1928, 14x19,5cm, broché. - Edition originale imprimée à 2000 exemplaires numérotés sur pur fil du Marais, le nôtre un des hors commerce. Petites déchirures sans gravité en tête et en pied du dos. [ENGLISH DESCRIPTION ON DEMAND]
IN 8. BR AVEC COUV REMPLIEE [BE]. ENV 160 PP. ENV 80 ILL EN NOIR ET EN COULEURS. [BE]
IN 4. BR AVEC COUV REMPLIEE [BE]. 80 PP. ENV 40 ILL EN NOIR ET EN COULEURS. [BE]
As New English Paperback. Pbo. Mint. 4to. (30 x 21 cm). In Turkish. Color and b/w ills. 48 p. 800 copies were printed. Agnieszka Cieslinska. Figuratio. 6-31 Ocak 2014, Galeri Isik, Tesvikiye, Istanbul. [Exhibition catalogue]. Texts by Ryszard Otreba, Akira Kurosaki.
Signed by Aharon Bezalel. Contains B&W and Colored plates. 27.5X22 cm. 15+15 pages. Gilt hardcover with dust jacket. Dust jacket rubbed. Spine edges slightly bumped. Pages slightly yellowing. English front-page slightly stained no damage to text. Else in good conditions.
As New English Paperback. Pbo. Mint. 4to. (30 x 23 cm). In Turkish. Color ills. 80 p. Ahmet Fazil Aksoy. Soyutlar. 9-11 Mart 2011, Besiktas Sanat Galerisi. [Exhibition catalogue and pamphlet].
New English Ahmet Günestekin. Antik modern = Antique Moderne., text by: Gülseli Inal; translator: Ayperi Okur, Ist., 2007. Paperback. Pbo. 4to. (29 x 23 cm). 212 p. Color ills. In Turkish and English. 1250 copies were printed. "Ahmet Günestekin (born December 22, 1966 in Batman, Turkey) is a Turkish painter. He was born in the workers' camp at Garzan oil field in Batman, where his father was employed. He was the second youngest child of a seven children family. His passion for painting has been with him ever since his childhood. He was awarded his first prize in third grade when he was nine years old. His acquaintanceship with oil colors occurred at the same time, and in addition to this, his interest in literature appeared at this young age. Since that time, the artist has kept on working permanently. When he reached his high school years, he staged his first personal exhibition in the gallery at his school. Shortly after his graduation, he went on to study in the Faculty of Fine Arts at Mimar Sinan University in Istanbul. After a while he dropped out of this programme, but later went on to complete his graduate studies at the Anadolu University's Department of Management. For a period, he went into business, but soon returned to painting. In 1997, Günestekin established his first studio in Beyoglu and from there staged numerous personal and cooperative exhibitions. In the wake of his exhibition ¿Colors After Darkness¿, which he opened in 2003 iat Atatürk Cultural Center (AKM), he gradually began to release his name into the world of art. Through a great number of personal exhibitions, Günestekin¿s works of art now take their place in prestigious domestic and foreign collections. Ahmet Günestekin, whose signature of his great achievements is his distinctive language, has also attained great success in the design field. His art: Antique Modern While it exists as a definite and specific feature in modern art expression, form in post-modern times is observed and experienced as fragmented and imperceptible through a detached yet consecutive visual experience. Modern means: integrity, continuity, order, nature, form and, most importantly, simplicity. Post modern, on the other hand, is about pieces, disarray, detachedness, context, complexity and, most importantly, essence and ethnic culture. While modernism offers a unifying closed-circuit form mechanism, what is dominant in the art expression of the post-modern era is anti-form and a fragmented structure. (We designate the post-modern era as gaining clarity by 1990). The principles in a modern work of art can be listed as goal, distance, sovereignty, depiction of existence, metaphor, depth, interpretation, the designated, main code, narration, paranoia, the origin, metaphysics, and transcendence. What comes to the fore in the post-modern era, conversely, are characteristics like game, anarchy, process, puzzle, anti-thesis, nonexistence, disintegration, personal language (idiolect), irony, ambiguity, and immanence. From this perspective, Ahmet Günestekin's art expression bridges both the modern and post-modern approaches; whilst it harbors the modern characteristics and displays some features of the modern, and displays some features of the modern in terms of the space he reflects, it also offers a refuge for antique characteristics in terms of its themes. In actuality, Ahmet Günestekin, as an artist fascinated by the antique worlds, stands contrary to Modernism. However, the integrity and unity he reflects on the canvass are the principles of the modern work of art and they greet us as the most important principles that the artist gives the utmost importance to in composing his work. On the other hand, Ahmet Günestekin, who displays a completely post-modern attitude, also crosshatches the archetypes of the antique worlds, and transforms the ruptures of time - anachronisms - by greeting time perception, thereby transforming."
As New English Paperback. Pbo. Mint. Large 8vo. (24 x 25 cm). In Turkish. 32 p. Color ills. Ahmet Ogras. Eskihisar'dan Beyoglu'na Dört Mevsim Resim Sergisi. 25 Kasim - 13 Aralik 2013, Tünel Sanat Galerisi, Istanbul. [Exhibition catalogue].
As New English Paperback. Pbo. 1000 copies were printed. Mint. 4to. (30 x 23.5 cm). Turkish and English texts. [34] p. Color ills. Ahmet Özel. The inner views.= Iç manzaralar. 5-31 Mayis 2006 Kare Sanat Galerisi, Nisantasi. [Exhibition catalogue].
This is a very good softcover copy, clean inside, cover corners chipped. This is Band 6 in the series"Schopfung Beitrage zu Einer Weltgeschichte Religioser Kunst Herausgegeben von Oskar Beyer". 20 black & white plates. Text in German. 10" high X 8" wide, 34 text pages + plates. This book will be securely packed and shipped with tracking.
IN HEBREW AND ENGLISH. 30X24 cm. 52 pages. Softcover. In good condition.
GRAND IN 4. BR [BE]. 24 PP. 24 ILL EN NOIR ET EN COULEURS. [BE]
GRAND IN 8 CARRE. BR [BE]. 56 PP. ENV 40 ILL MONOCOLORES. [BE]
IN 4. BR [BE]. 20 PP. ENV 25 ILL EN NOIR ET EN COULEURS
softcover, Illustraties, tekstin het Nederlands, Verhandelingen Nieuwe Reeks 24, 17x25cm nieuwstaat !. ISBN 9789065691064. Auteur Thomas Matei legt in deze uitmuntende studie de focus op het 18de eeuwse atelier van de familie Van der Neer. Dit beeldhouwersgeslacht uit Antwerpen ontpopte zich in de loop van de jaren 1700 tot een van de belangrijkste - zoniet de allerbelangrijkste - vertegenwoordigers van de rococostijl in de Oostenrijkse Nederlanden. Eerder was al bekend dat de beeldhouwers van de familie Van der Neer verwant zijn aan de kunstschilders Van der Neer uit Amsterdam. Door nieuw en aanvullend onderzoek brengt Thomas Matei aan het licht dat de Van der Neers uit Antwerpen ook verbonden zijn aan twee verschillende 19de-eeuwse beeldhouwateliers (het atelier van Hendrik Peeters-Divoort uit Turnhout en het atelier van Johan Jozef Peeters uit Antwerpen). Terwijl men tot nog toe meende dat deze ateliers volledig onafhankelijk waren, blijkt nu dat de familie Van der Neer haar ambacht ongeveer twee eeuwen lang bleef uitoefenen, zij het dan wel met een naamsverandering. Deze lange continuiteit van het atelier laat toe stilistische wijzigingen alsook blijvende waarden in hun oeuvre vast te stellen. Een gedetailleerde beschrijving van hun belangrijkste opdrachten geeft inzicht in een aantal praktische en economische aspecten van het beeldhouwersambacht. Met zijn onderzoek naar deze veelzijdige en flexibele beeldhouwers en hun atelier werpt de auteur een verfrissend licht op de beeldhouwkunst in de 18de eeuw. Thomas Matei studeerde af als licentiaat in de kunstwetenschappen aan de KULeuven in 2005. Deze publicatie vloeit voort uit zijn licentiaatsverhandeling. Hij is sinds 2006 werkzaam bij het Centrum voor Religieuze Kunst en Cultuur vzw als medewerker en registrator. In die hoedanigheid werkt hij mee aan verschillende projecten rond religieus erfgoed en stelt hij inventarissen op van kerkelijke en monastieke kunstcollecties. Hij is tevens aangesteld als wetenschappelijk medewerker in het Museum Abdij van Park te Heverlee en is betrokken bij de restauratie en herbestemming van deze norbertijnenabdij tot erfgoedsite en museum.
