15 439 résultats
GRAND IN 8. CART [BE]. 44 PP. 22 ILL DONT 3 EN COULEURS. [BE]
9966Gallerie Schwarz, Fratelli Pozzo ,1967, in-4 de 96 pages ,ill. in-t et h-t, ,relié , jaquette illustrée ,Bon état , .(2 photos du livre sur mon site https://www.vieuxlivre.fr) .Les frais de port pour la France sont offerts à partir de 25 euros d'achat (Mondial relay ). (colissimo suivi +6,90 ).
2011015808Bruxelles Fonds Mercator - WIELS 2011 In-4 Broché, couverture illustrée
1989RO40218653Musée Bonnat, Bayonne. 1989. In-4. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 4 feuillets dont 2 planches photo en noir et blanc.. . . . Classification Dewey : 730-Arts plastiques. Sculpture
As New As New English Paperback. Pbo. Dust wrapper. Mint. 4to. (30 x 24 cm). In English and Italian. 45, [1] p. Color ills. For Ali Hassoun, born in Saïda (Lebanon) in 1964, but living in Italy, art is inevitably a borderland, a fertile ridge where two different cultures meet: the traditional, spiritual culture of Islam and the dynamic, evolutionary culture of the West. In this meeting, East and West, North and South are only apparently geographical coordinates. They are rather topical places in the mind, spiritual directions which pass the baton to one another, like the perfect laps in a trip touching in turn upon the extreme opposites of ascension: the zenith and the nadir, Alpha and Omega, vile lead and alchemic gold, the terrestrial world and the imagination, the spirit and the body, and all the possible variants on a polarity which is always merely symbolic. In the artist's works the East and the West continually change sides, alluding to ambiguous meanings, now clear and now hidden. Ali Hassoun's iconography is constructed by stealing from contemporary visual culture images of a variegated humanity intent on the humble occupations of a daily life that has not yet been brutalised by the signs of the technological era. Like a computer hacker, but employing techniques which are entirely manual, Ali metaphorically "copies and pastes" onto his canvas photographs of people taken from the pages of a book or a magazine. He paints portraits of men and women, changing them using an ancient tool which contains within itself the balsamic germ of transfiguration. And yet, in his painting, precise and detailed to the point of verging on hyper-realism, there is nothing of the documentary. Like Emilio Salgari, Hassoun does not need to plough the waves or travel the caravan routes to come up with his visions. His travels are immobile, typical of a multimedia age such as our own, when information abounds but knowledge is rare. An age in which painting has come back into fashion - if it had ever gone out of fashion - but feeling the influence of the clarity of liquid crystal, of the pervasive vocabulary of the big plasma screen, of the hi-tech aesthetic born out of cyber imagery and the virtual settings of videogames. Painting containing gelid icons, the heroines of a new cybernetic sensuality, portraits of aidoru and computer alter egos, replicants and cyborgs, singing the fictitious myth of a trans-human future. In Italy, Ali Hassoun's painting is a return to Vasari's Bella Maniera, the full perfection of the great lesson of the Renaissance: painting with no mediation, no alibis and no tricks. In his works, Arab shepherds, students of the Koranic schools, cabalists, old wise men and African women dressed in fabrics of gaudy colours move about in a scenario in which landscape notation is abolished, swept away by an artificial background, a citation of great masterpieces of Art History, from the Michelangelo of the Sistine Chapel to Picasso's Guernica, from the fourteenth-century Sienese painters - Simone Martini and the Lorenzettis - to Capogrossi. The Levantine faces and statuesque bodies of his African women, the elegance and grace of his Indian maids are surrounded not by a desert, by a marketplace, by the interior of a mosque or a zawiyya nor by a minaret or a medina, but by a world of spirits, of platonic psychopomps floating suspended between Earth and Sky. In his most recent works Ali Hassoun has moved eastward. His women are now wearing the colours of India. They are wheat grinders, water bearers, even cabalists, intent on drawing a five-pointed star in the earth, hiding the secret of the golden section. The birth of a primitive femininity is everywhere, blended with the mystics of the elements - Air, Water, Earth and Fire - transfused in the grammar of light as in the use of clayey colours, in the transparency of ethereal figures and in the symbolism of water. Once again there are images of the "well of science" from which to draw the water of wisdom
Very Good Very Good English Paperback. Dust wrapper. Demy 8vo. (21 x 15 cm). In Turkish. Color and b/w ills. 64 p., 32 color plates. Ali Çelebi.
Torino, Fratelli Pozzo, 1967, 33 x 24'5 cm., tela original con sobrecubiertas, numerosas ilustraciones, la mayoría a toda página, 98 págs.
Paperback, 270x230mm, 216 pages, 192 colour illustrations, French edition Fine! . ISBN 9789061533290. Alors qu'elle avait entame sa carriere de sculpteur au lendemain de la guerre en adoptant un style figuratif classique, Alina Szapocznikow a reconceptualise la sculpture en tant qu'empreinte non seulement de la memoire, mais egalement de son propre corps. Interrompue par la mort prematuree de l'artiste en 1973 a l'age de 47 ans, sa carriere effective ne couvre pas deux decennies, pourtant, Szapocznikow nous laisse en heritage des objets provocants qui evoquent le surrealisme, le nouveau realisme et l'art pop. Moulages de fragments de corps en polyester teinte, souvent metamorphoses en objets quotidiens tels des lampes ou cendriers, formes obtenues a partir de polyurethane liquide solidifie, assemblages complexes qui peuvent incorporer des photographies, vetements ou pieces d'automobile : les ouvres fascinantes de l'artiste resonnent dans la culture actuelle d'une facon tout aussi merveilleusement idiosyncratique que lors de leur creation. Celebre en Pologne, Szapocznikow y a exerce une grande influence des les premices de sa carriere, le moment est venu de reexaminer sa place dans l'histoire de l'art. Alina Szapocznikow, Sculpture Undone 1955-1972, nous offre une vue d'ensemble tres complete de l'oeuvre importante de cette artiste au moment ou elle suscite un interet international grandissant. Richement illustre par plus de 150 planches en couleurs, ce catalogue presente des essais rediges par les commissaires de l'exposition ou sont abordes des aspects cruciaux de la pratique de l'artiste et de l'histoire de sa reception. Il inclut egalement une chronologie complete, permettant d'explorer en profondeur les liens qui unissent sa vie et son art. Alors qu'elle couvre l'une des periodes les plus riches et les plus complexes du xxe siecle, la production de Szapocznikow fait echo a de nombreux aspects de l'evolution artistique et ideologique de son temps en une ouvre sculpturale a la fois fragmentee et transformative, sensuelle et pensee, realisee de maniere ludique et chargee politiquement.Expo: WIELS Contemporary Art Center, Brussels: 10/9/2011 - 8/1/2012 Travelling to the MOMA, New York
Quarto in glossy white wraps; 62 p. : ill., bibliography: p. 46-62.; 25 cm. Includes reproductions of engravings by Aliseris In Spanish. Uncommon. // Fantastical drawings of imaginary creatures in black and white. Aliseris, Carlos W. (1889-1974).
One small folio-sized portfolio (32 loose leaves of color plates); 34 cm. "Created asillustrations to Alisher Navoi's poems The Owner of the Pious, Farhad and Shirin, Layli and Majnun, Seven Planets, The Wall of Iskandar and The Langage of the Birds, the miniatures belong to the brush of the great Eastern painter Kamal ad-Bin Behzad, founder of the Herat school of miniature painting and his pupils Kasim Ali, Dust Muhammad, Mirak Naqqash and Mahmud Mudhahhib." Decent quality color printing from the former Soviet Union. A UNESCO project. Short introductory texts in Uzbek, English, Persian, and Russian to portfolio versos. Plates are reproductions from the Khamsa of Alisher Navoi copied in Herat in 1485 for Badiazzaman (Bodleian Library, Oxford, No. 287, 317, 339, 408), of the Kulliyat copies in Herat in 1525-1527 (Bibliotheque Nationale, Paris, Suppl. Tur 316, 317) and manuscripts of some separate poems copied in first half of the 16th century.... || Alternate Titles: Miniatiury k poemam Alishera Navoi.; Miniatures to poems of Alisher Navoi.; Nigarha-yi dastan-i `Ali Shir Navai. || Illumination of books and manuscripts, Timurid -- Afghanistan -- Herat -- Catalogs. Islamic illumination of books and manuscripts -- Afghanistan -- Herat -- Catalogs. Illumination of books and manuscripts -- Afghanistan -- Herat -- Catalogs. Illumination of books and manuscripts, Timurid -- Uzbekistan -- Bukhoro -- Catalogs. Islamic illumination of books and manuscripts -- Uzbekistan -- Bukhoro -- Catalogs. Illumination of books and manuscripts -- Uzbekistan -- Bukhoro -- Catalogs. Alisher Navoii, 1441-1501 -- Illustrations -- Catalogs.
1993334901993. Softcover. VG. White tri-fold brochure. 2 bw 2 color plates. Brief essay by Sidney Lawrence artist biography bibliography and checklist. unknown books
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards, bump to top of spine and no bumping to other corners. 76pp. Catalogue from the Alison Wilding Exhibition at the Tate Gallery Liverpool in 1991. With coloured full-page images of her work plus associated sayings and an interview.
Musée Bonnat, Bayonne. 1989. In-4 Carré. En feuillets. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 4 feuillets dont 2 planches photo en noir et blanc. Avril 1989.
18242Pantin, galerie Thaddeus Ropac, 2013. In-4 oblong, 152 pp., cartonnage éditeur de toile grise.
This is a very good softcover copy in the original publisher's printed wrappers with just light wear. Completely clean inside and out except for a neat small personal handstamp from the well known New York art historian previous owner. Text in Italian. Illustrated in black & white with 10 photographic plates. 10" high X 7" wide, 91 pages. This book will be securely packed and shipped with tracking.
1206Librairie militaire R. Chapelot, Paris, 1909. Petit in-4, broché, 40 pp. Allocutions et discours prononcés à Malplaquet les 11 et 12 septembre 1909 - Allocution de M. l'abbé Deck, curé de Malplaquet - Discours de M. le marquis de Vogüé, président du comité - Discours de M. Pature, maire de Taisnières-sur-Hon ...
Large gold folio ; xi, 210 p : illus (some color) ; 31 cm Art -- Street names -- California -- Los Angeles -- History
198969570ABEindhoven / London / Valencia., Stedelijk Museum / Serpentine Gallery / IVAM Centre del Carme., 1989. 25,1 x 20,1 cm. 64 S. Illustrierter OKarton., 69570A Erste Auflage. Rücken wenig aufgehellt, sonst gutes bis sehr gutes Exemplar.
Broché. 50 pages. 20x20cm.
201563473CBMönchengladbach, B. Kühlen Verlag, 2015. 4°. 28,5 x 21 cm. 196 Seiten. Original-Klappenbroschur.
199112480DBHannover., Galerie Barz., 1991. 26 x 20 cm. 32 unpaginierte S. OKarton mit illustriertem OUmschlag., 12480D Erste Auflage. Umschlagkanten etwas nachgedunkelt und mit kleinen Bereibungen. Sonst gutes bis sehr gutes Exemplar.
1922EEzz3902pFrankfurt a. Main, Rütten & Loening 1920 - 1922. gr.-8°, 491, 523, 511, 517, 295, 307 S., OHLn., berieben, Stellspuren, die vord. Gelenke leicht beschäd., an den Kap. tlw. etw. aufgeriss.
1922EEzz3902nFrankfurt a. Main, Rütten & Loening 1922. gr.-8°, 491, 523, 511, 517, 295, 307 S., OHLn., alle Buchrücken zerschlissen, berieben, Stellspuren, die vord. Gelenke leicht beschäd., an den Kap. tlw. etw. aufgeriss.
200958649BBKrefeld / Nürnberg., Kunstmuseen Krefeld / Verlag für moderne Kunst Nürnberg., 2009. 27 x 21 cm. 124 S., 2 Blatt. OHalbleinen., 58649BB Erste Auflage. Sehr gutes Exemplar.
Octavo in purple gilt-titled boards; 142pp + adverts; numerous pen and ink drawings. Interesting illustrations, particularly the humorous ones, as well as a series on women's hat fashions.
