Various ArtistsBiblio.com
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1095151972 . The extremely rare complete collection of 28 artists original graphics the first signed edition before the second poster edition of 4000 with varying edition numbers including Artist's Proofs from the total edition of 200 each hand signed and numbered or inscribed 1969 - 1972 printed on varying papers published by the Organising Committee for the Games of the XXth Olympiad and F. Bruckmann Germany with 2 additional screenprints of the Emblem by Victor Vasarely 1972 signed from the edition of 200 on wove paper each sheet various measurements. 1020 x 640mm 40¼ x 25¼ inches.<br /> <br /> 1972 unknown
51-5227Pisa: Co’ Caratteri de’ FF. Amoretti Presso Niccoló Capurro 1817- 1839. 4 folio volumes 31 x 44.4 cm. Large paper copy. 19th Century half green morocco with marbled boards. Some pages with stains and foxing. but most very fresh. The plates were printed in colors which was then much more expensive and always more elegant than handcoloring black inked printed pages. With 155 color stipple engravings. The plates are not numbered but some copies have as many as 163 plates.The Italian artists are : Giuseppe CAROCCI Alessandro CONTARDI Francesco CORSI Paolo FUMAGALLI Luigi GARIBBO Luigi GIARRE Carlo LASINIO Tomaso NASI Giuseppe PERA Stefano RINALDI Bernardino ROSASPINA Antonio SERANTONI Antonio VERICO…engraved after A. BASOLI Giuseppe BAZOLI Luigi BISI Carolina & Isabella BOZZOLINI Giuseppe BUCHERELLI D. DELPINO Pellina Piuma GALLESIO Sofia GIORDANO Ferdinando MORI Domenico del PINO Daniele DEL Ré Antonio SERANTONI M. VERNERO…OCLC Number / Unique Identifier:558753573.FIRST EDITION OF THE FINEST ITALIAN WORK ON FRUIT. "It is extremely rare and its interest is enhanced by the knowledge that it is one of the few examples outside of England in which aquatint has been used successfully" Dunthorne. "Before Gallesio began this enormous work published in fourty-one parts from 1817 to 1839 he had already published his Traité du Citrus which explains the reason for the lack of oranges and lemons in a catalogue of Italian fruit. Gallesio's fruit garden in Savona was not his main occupation for he was a lawyer and a civil servant as well as a botanist whose experiments on the development of varieties of fruit were quoted later by Charles Darwin. Gallesio's Pomona was a major contribution to the study of pomology in Italy" Raphael Oak Spring Pomona. Dunthorne 118; Great Flower Books p. 57; Raphael Oak Spring Pomona 52; Nissen BBI 683. 4 volumes in-folio demi-maroquin vert dos à nerfs orné reliure fin XIXe s.Brunet II 1466 « Pour la beauté de l'exécution cet ouvrage ne le cède en rien à ceux du même genre que l'on a publiés en France depuis une cinquantaine d'années » ; Dunthorne 118 « A very fine work » ; Great Flower Books 92-95 ; Oak Spring Pomona 52 ; Nissen BBI 683 3. Pisa: Co’ Caratteri de’ FF. Amoretti, Presso Niccoló Capurro, 1817- [1839] hardcover
192531436L'historique exemplaire du prix Goncourt Paris, Bernard Grasset, (29 septembre) 1925. 1 vol. (115 x 180 mm) de 349 p. et [1] f. Maroquin brun, dos à nerfs, faux nerfs à froid sur les plats, titre doré, date en pied, contreplats à encadrement ornés de filets et pointillés dorés, doubles gardes de soie moirée et papier marbré, double filet doré sur les coupes, tranches dorées sur témoins, couvertures et dos conservés (reliure signée de G. Lévitsky) - conservé dans un écrin signé de Renaud Vernier : bois d'ébène, lettre mosaïquée en bois de rose, buffle assorti sur les deux rabats intérieurs avec titre doré, chemise et étui bordés. Édition originale. Un des 13 exemplaires sur japon, celui-ci hors-commerce (n° III). Exceptionnel exemplaire de l'auteur qui l'a fait relier avec : - la lettre autographe collective des membres de l'Académie Goncourt, signée par chacun d'eux et datée du 16 décembre 1925 (1 p. en 1 f. à en-tête de l'Académie + l'enveloppe à en-tête), remise place Gaillon et qui lui annonce qu'il est couronné du prix ; - Les 5 dessins originaux d'André Deslignères, du croquis à la maquette finale, qui ont servi au bois gravé pour l'illustration de la couverture (5 f., mine de plomb, encre et crayon de couleurs rouge). Une seconde couverture, illustrée d'un bois de Gérard Cochet et qui fait partie intégrante de l'édition, est bien présente dans l'exemplaire.
ABAA-75TH-VBF-35<p>Paris plates dated 1818-1820.</p><p>Folio of 86 full-page plates. Blue straight-grained morocco gilt and blind-stamped borders around the covers gilt arms in the center ribbed spine decorated with blind-stamped borders and gilt tools inner border gilt edges. <em>Simier R. du R.</em> signature at foot of spine.</p><p>436 x 295 mm.</p><p><strong>Very beautiful collection of views of castles from the library of the duchess of Berry in a bindings by</strong> <em>Simier</em>.</p><p><strong>86 lithographs in color enhanced with gum Arabic</strong><strong> </strong>by <em>Bourgeois</em> 83 and <em>Thiénon</em> 3 printed by <em>C. de Lasteyrie</em> and <em>F. Delpech</em>.</p><p>Constant Bourgeois 1767-1841 a pupil of David produced several suites of topographical views of Europe. In addition to plates from the <em>Recueil de vues pittoresques de la France</em> Paris 1818-1819 there are some very probably from the <em>Voyage pittoresque à la Grande Chartreuse suivi de quelques vues prises dans les environs de ce monastère</em> Paris 1821.</p><p>Among the castles sites and monuments depicted are the Semur keep the castles of Rambouillet Gisors Frazé Courtalin and Bois-Ruffin Graville abbey views of Voreppe Ville-d'Avray and the Jouy factory etc.</p><p><strong>Copy in exceptional condition contemporary bound by Simier with the arms of Marie-Caroline duchess of Berry</strong> and with the bookplate of the <em>château de Rosny</em> cat. 1837 n°l 905.</p><p>Marie-Caroline-Ferdinande-Louise de Bourbon-Sicile daughter of Ferdinand I King of the Two Sicilies and Marie-Clementine Archduchess of Austria was born in Naples on November 5 1798. On June 17 1816 she married Charles-Ferdinand d'Artois Duke of Berry second son of the future Charles X who was assassinated on February 13 1820. Widowed at the age of 22 the Duchess of Berry devoted herself to the upbringing of her two children Louise-Marie-Thérèse d'Artois and Henri-Charles-Ferdinand-Marie Dieudonné Duke of Bordeaux who was born posthumously. Very courageous in 1832 she tried to foment a failed legitimist uprising in Vendee; betrayed on November 7 of the same year by the Jewish convert Deutz she was imprisoned in the citadel of Blaye where she gave birth to a daughter she had had with Count Hector Lucchesi-Palli whom she had secretly married in 1831; released in June 1833 she was kept apart by the royal family and had the responsibility for her son's education taken away from her. She lived in Venice and died on April 17 1870 at Brunnsee Castle in Styria.</p><p>This princess whose artistic tastes were highly developed had built up a luxurious library in her château at Rosny near Mantes remarkable as much for the choice of editions and the richness of the bindings as for the importance of the manuscripts it contained.</p><p>The Duchess of Berry was not only a renowned bibliophile but also an enthusiastic patron of the arts with a keen interest in the work of contemporaries such as Ambroise-Louis Garneray who depicted views of contemporary life. Her library contained finely illustrated travel books such as Achille Etienne Gigault de la Salle's <em>Voyage pittoresque en Sicile</em> Paris 1822-26 his dedicated copy the Botfield copy Christie's London March 30 1994 lot 64 and an album of 125 engraved plates from Jacques Rigaud's <em>Recueil choisi de plus belles vues des palais châteaux et maisons royales de Paris et des environs </em>Paris: circa 1730-1752 Christie's London. December 9 1983 lot 138 and the present album of views is very typical of her interest and taste for topographical printing.</p><p><strong>Only recorded copy complete with 86 contemporary coloured engravings preserved in its contemporary armorial morocco binding</strong><strong></strong> sold for € 45601 by Sotheby's London on June 13 2002 22 years ago.</p><p>FR</p><p>Paris planches datées 1818-1820.</p><p>In-folio de 86 planches à pleine page. Maroquin bleu à long grain roulettes dorées et à froid en encadrement armes dorées au centre dos à nerfs orné de roulettes à froid et fers dorés roulette intérieure tranches dorées. <em>Simier R. du R. </em>signature en pied du dos.</p><p>436 x 295 mm.</p><p><strong>Tr</strong><strong>ès beau recueil de vues de châteaux provenant de la bibliothèque de la duchesse de Berry dans une reliure de</strong> <em>Simier</em>.</p><p><strong>86 lithographies en couleurs avec rehauts à la gomme arabique</strong><strong></strong> par <em>Bourgeois</em> 83 et <em>Thiénon</em> 3 imprimées par <em>C. de Lasteyrie</em> et <em>F. Delpech</em>.</p><p>Constant Bourgeois 1767-1841 élève de David produisit plusieurs suites de vues topographiques de l'Europe. Aux planches tirées du <em>Recueil de vues pittoresques de la France </em>Paris 1818-1819 s'ajoutent quelques-unes très probablement tirées du <em>Voyage</em> <em>pittoresque à la Grande‑Chartreuse suivi de quelques vues prises dans les environs de ce monastère </em>Paris 1821.</p><p>Parmi les châteaux sites et monuments représentés citons le donjon de Semur les châteaux de Rambouillet Gisors Frazé Courtalin et Bois-Ruffin l'abbaye de Graville des vues de Voreppe de Ville-d'Avray de la manufacture de Jouy etc.</p><p><strong>Exemplaire en condition exceptionnelle relié à l'époque par Simier aux armes de Marie-Caroline Duchesse de Berry et</strong> avec l'ex-libris du <em>Château de Rosny</em> Cat. 1837 n° l 905.</p><p>Marie-Caroline-Ferdinande-Louise de Bourbon-Sicile fille de Ferdinand 1er roi des Deux-Siciles et deMarie-Clémentine archiduchesse d'Autriche née à Naples le 5novembre 1798 épousa le 17 juin 1816 Charles-Ferdinand d'Artois duc de Berry second fils du futur Charles X qui fut assassiné le 13 février 1820. La duchesse de Berry veuve à 22 ans se consacra à l'éducation de ses deux enfants Louise-Marie-Thérèse d'Artois et Henri-Charles-Ferdinand-Marie Dieudonné duc de Bordeaux né posthume ; très courageuse elle essaya en 1832 de fomenter en Vendée un soulèvement légitimiste qui échoua ; trahie le 7 novembre de la même année par le juif converti Deutz elle fut enfermée dans la citadelle de Blaye où elle mit au monde une fille qu'elle avait eue du comte Hector Lucchesi-Palli qu'elle avait épousé secrètement en 1831 ; remise en liberté en juin 1833 elle fut tenue à l'écart par la famille royale et se vit enlever la direction de l'éducation de son fils. Elle vécut à Venise et mourut le 17 avril 1870 au château de Brunnsee en Styrie.</p><p>Cette princesse aux goûts artistiques très développés avait constitué dans son château de Rosny près Mantes une luxueuse bibliothèque remarquable tant par le choix des éditions et la richesse des reliures que par l'importance des manuscrits qu'elle renfermait.</p><p>La duchesse de Berry était non seulement une bibliophile réputée mais aussi une mécène enthousiaste des arts avec un vif intérêt pour le travail de ses contemporains comme Ambroise-Louis Garneray qui dépeint des vues de la vie contemporaine. Sa bibliothèque contenait des livres de voyage finement illustrés tels que le <em>Voyage pittoresque en Sicile</em> d'Achille Etienne Gigault de la Salle Paris 1822-26 son exemplaire dédicacé l'exemplaire Botfield Christie's Londres 30 mars 1994 lot 64 et un album de 125 planches gravées du <em>Recueil choisi de plus belles vues des palais châteaux et maisons royales de Paris et des environs</em> de Jacques Rigaud Paris : vers 1730-1752 Christie's Londres. 9 décembre 1983 lot 138 et le présent album de vues est très typique de son intérêt et de son goût pour l'impression topographique.</p><p><strong>Unique exemplaire répertorié complet des 86 estampes en coloris de l'époque conservé dans sa reliure en maroquin armorié de l'époque</strong><strong> </strong>adjugé 45 601 € par Sotheby's London le 13 juin 2002 il y a 22 ans.</p> hardcover
191332261Remarquable reliure cubiste de Leroux Paris, Mercure de France, (20 avril) 1913. 1 vol. (115 x 180 mm) de 204 p., [1] et 1 f. Veau havane tressé, premier plat orné d'un décor mosaïqué inspiré d'une composition cubiste composé d'une pièce de box marron tressé, d'une bande verticale de liège et d'une pièce carrée d'osier canelé, titre doré, tranches dorées sur témoins, contreplats bords à bords du même veau, gardes de box havane, couvertures et dos conservés, chemise et étui bordé (reliure signée de Georges Leroux, 1971). Edition originale. Exemplaire du premier mille (n° 578), après 23 exemplaires sur Hollande. Frontispice de Picasso : un portrait cubiste de l'auteur. Envoi signé : «A Madame Lemaistre, avec les hommages et le souvenir très cordial de Guillaume Apollinaire». L'exemplaire comprend sept corrections à l'encre de la main d'Apollinaire, aux pages 71,77, 86, 92, 110 et 189 (2 corrections) - là où l'on en trouve généralement cinq, quand elles sont là. En fin, sont reliées neuf gravures de Marcoussis dont huit sont signées de l'artiste : il s'agit des épreuves du portrait d'Apollinaire, , de 5 états de la planche 9 (Crépuscule), de 2 états de la planche 31 (A la santé) et de la justification de l'ouvrage de Marcoussis (exemplaire n° 2).
190629460Première édition illustrée. Spectaculaire reliure de Frère Claes Bruxelles, Vandamme et Co., (10 mai) 1906. 1 vol. (280 x 320 mm) de 234 p., [6] f. et 32 hors-texte. Reliure à plats rapportés en polycarbonate, décor sur les quatre plats, doubles gardes de papier japon noir, couvertures conservées, emboîtage à décor en polycarbonate (reliure signée Edgar Claes 30 avril 2017). Édition originale de la traduction française par Henry-D. Davray et première édition illustrée, par Alvim Corrêa. Tirage unique à 500 exemplaires numérotés, celui-ci exemplaire de passe (non justifié et non signé). 32 dessins à pleine page imprimés, sur papier gommé crème et 101 gravures dans le texte.
196926895Envoi signé et dessin de Miro. Reliure de Louise Bescond Paris, GLM, (janvier) 1969. 1 vol. (150 x 215 mm) de 25 p., [2] et 1 f. Plein veau naturel teinté gris anthracite, estampé d'une eau-forte originale inspirée d'une lithographie de Joan Miró, tire à la chinoise, contreplats bords à bords à et gardes de chèvre velours, tranches dorées sur témoins, couvertures et dos conservés, chemise et étui bordés (reliure signée de Louise Bescond, 2022 - titrage Claude Ribal). Édition originale. Un des 95 premiers exemplaires sur vélin d’Arches (n° 65) contenant la lithographie originale en couleurs de Joan Miro, signée. Envoi signé enrichi d'un dessin : « Pour Gisèle, hommage d’amitié, Miro, VI/69 ».
166430945Tout Corneille : l'édition Wolfgang d'Amsterdam. Un des plus beaux exemplaires connus : celui d'Henri Bordes, relié par Lortic. [Amsterdam], Suivant la Copie imprimée à Paris, [Abraham Wolfgang], 1664-1678. 10 vol. (75 x 134 mm) de 1 portrait, 9 frontispices et 61 figures. Maroquin rouge, dos à nerfs ornés de caissons dorés, titre, tomaisons et dates dorés, au centre des plats médaillon ovale cerclé de petits fers et entrelacs dorés, encadré d'un double jeu de filets dorés, doublures de maroquin bleu, roulette et filets dorés encadrant une large dentelle dorée, fleurons d'angle, double garde peignée, tranches dorées sur marbrure (reliure signée de Pierre-Marcellin Lortic). Le théâtre complet de Pierre Corneille et Thomas Corneille : L’Illusion comique, Rodogune, Le Cid, Cinna ou Polyeucte... Exemplaire de choix, aux bonnes dates, sans exception (de 1664 à 1678) aux pedigrees impeccables : Pierre-Marcellin Lortic, Henri Bordes et Jules Lemaître. Cette édition est précisément décrite par Picot dans sa Bibliographie cornélienne, sous le n° 381. Elle est célèbre et contient d’admirables gravures, illustrant la totalité du théâtre des deux frères. Après les cinq premiers volumes de Pierre Corneille, l’éditeur poursuit jusqu’en 1678, avec les Tragédies et Comédies de son frère Thomas.
51-3047St. Albans London: F. Sander and J. French for Henry Sothern 1886-1888-1894. Folio 522 x 392. Housed in 4 elegant and massive slipcases of embossed lambskin over linen by the celebrated binder Sasha Mosalov.viii of x 110; viii 106; 8 iii 1 104; viii 24 27-114 pp. 2 Series in 4 volumes; with 192 chromolithograph plates after Henry George Moon W.H. Fitch & A.H. Loch wood-engravings throughout the text. Lacks first volume title page pp. 25/26 in final volume; plates with fresh tissue guards; some toning and edgewear occasional spots more so to verso dampstain in margins of some plates text with occasional foxing and toning some chips and damp staining wrappers with chips around extremities of the text pages which are on brittle pages.OCLC Number: 221762250FIRST EDITION of what Sitwell considers an "important and authoritative work for orchid growers." German-born Sander settled in St. Albans Hertfordshire where he ran a successful nursery specializing in orchids. The above work which was a collaboration with landscape painter Henry G. Moon was named in honor of the renowned German orchidologist Heinrich Gustav Reichenbach. The chromolithographs are among the best of its day with hand-cut blocks and use of up to 20 colors. Great Flower Books p 135.Very Heavy will cost extra for shipping. St. Albans, London: F. Sander and J. French for Henry Sothern, [1886]-1888-1894. unknown
1860006445Paris and London respectively : Clément; E. Gambart 1860. First edition. Quarter Morocco. Marbled boards. Near Fine. A gorgeous sweeping collection of historic French military costume plates as comprehensive as imaginable spanning 1439 to 1815 or from the Renaissance to Waterloo. Folio 45 by 33.5 cm. 450 hand-colored plates in all. Vol. 1: 100 pp hand-colored plates numbered 1 to115. Vol. 2: 48 pp. Plates numbered 116 to 300. Vol. 3: 58 pp. Plates numbered 1 to 150. The illustrations are generally not static dull costume plates but rather the artist usually shows the soldiers in engaged in some activity and so the illustrations also document the military lifestyle of the day depicted. Many of these plates thus can be viewed as genre or action pictures and their large size contributes to their visual excitement as well. Condition: some light foxing on the text pages. Plate leaves have light age toning along edges but are otherwise very clean fresh bright. Morocco spines with a few minor scuffs and rubbing. Bindings are overall solid and attractive. Note that the set is extremely heavy -- about 37 or 38 lbs. -- and so shipping is bound to cost extra more than the number produced by the standard shipping template on Internet sites. <br /><br /> Clément; E. Gambart hardcover books
2000140938852Portland OR: Nazraeli Press 2000. First Edition. Fine. 2000-2017. 124 Volumes 100 titles five multi-volume deluxe sets and duplicates of several titles several labeled AP for Artist's Proof. A complete run of the celebrated series which features 100 uniformly sized books of various colors giving each artist a 16-page canvas to exhibit a cohesive body of work. Each volume is limited to 500 copies and each contains one photographic print tipped in and signed by the artist--hence the name of the series. Conceived in 1998 as a way to make original art more affordable titles were originally released in groups of four generally twice a year beginning in 2000 and ending in 2017 with most copies reserved in advance for subscribers. Complete sets of the 100 titles are uncommon as many volumes are out of print; even more uncommon are those with the deluxe box sets as few were issued toward the beginning of the series. All volumes are Fine to Near Fine. Several volumes with light spine sunning or a slight shelf lean. The deluxe sets are by John Gossage Four American Photographs Todd Hido Taft Street Eduardo del Valle & Mirta Gomez Four Sections of Time all marked as "AP" or artist's proofs Judy Gelles Beach Boxes and Emi Anrakuji e hakagi Comprised of 1. Terri Weifenbach Instruction Manual No. 1: 21. May 1995; 2. John Gossage Four American Photographs 4-volume set in slipcase; 3. Terri Weifenbach Instruction Manual No. 2: 21. April 1996 "Bee"; 4. Terri Weifenbach Instruction Manual No. 3: 25. June 1996 "Blue Sky"; 5. Chan Chao Letter from P.L.F. Burma; 6. Todd Hido Taft Street 4-volume set in slipcase; 7. Ron van Dongen Rosa Ferreus; 8. Susan Hornbeak-Ortiz True; 9. Bill Jay Bill Brandt 2 copies; one signed as usual on limitation line and there the other marked "print signed on verso"; 10. Julien Coulommier Soleil Cou Coupe; 11. Yuki Onodera How to Make a Pearl; 12. Robert Adams Alders; 13. Risaku Suzuki Fire: February 6; 14. Robert Heinecken studiesnineteenseventy; 15. Don Kirby You're not really initiated until your eyes are redder than your lips; 16. Masao Yamamoto The Path of Green Leaves; 17. Martin Parr 7 Communist Still Lifes; 18. Andreas Müller-Pohle Yumiko; 19. Sara Gilbert Cues; 20. Toshio Shibata Type 55; 21. Michael Kenna Boarding School; 22. Eduardo del Valle & Mirta Gómez Four Sections of Time 4-volume set all marked as "AP" or artist's proofs; 23. Weng Fen Sitting on the Wall & Bird's Eye View; 24. Judy Gelles Beach Boxes 1 copy 4-volume set in slipcase; 25. Naoya Hatakeyama River Series / Shadow; 26. Boomoon Kwon On the Clouds; 27. Camille Solyagua Twenty-One Red-Crowned Cranes and One Black Crow; 28. Martin Parr 7 Colonial Still Lifes; 29. Jim Stone Why My Photographs are Good; 30. Stu Levy Cranial Czar Eh; 31. Ken Ohara One; 32. Steve Pyke: Post Partum; 33. Steve Pyke: Post Mortem; 34. Joseph Mills e mars Lilly's Waist; 35. Yuichi Hibi Robert Frank A Weekend with Mr. Frank; 36. Twinkako Ishiwata-Pichler Desperately Seeking Twinka; 37. Ron van Dongen A. angustatum; 38. Junko Takahashi The Receptionist; 39. Daido Moriyama Kuchibiru; 40. Emi Anrakuji e hagaki 7 volumes included with 6 unique prints; no slipcase present perhaps as issued; 41. Michael Kenna Montecito Garden; 42. Tanya Marcuse Fruitless; 43. Stephen Shore Merced River; 44. Jesse Diamond Drum Circle; 45. Nancy Honey Poodle Parlour; 46. Lars Schwander Manuel Ãlvarez Bravo: One Day in April 1999; 47. John Divola Seven Dogs; 48. Masao Yamamoto Fujisan; 49. David Maisel Cascade Effect; 50. Rob McDonald Birth Place; 51. Netta Madahar Sustenance; 52. David Tseklenis Julius Shulman Does His Own House; 53. Joe Deal Indian Bingo; 54. Raymond Meeks Doctrine of an Axe; 55. Mayumi Lake Ex Post Facto; 56. Michael Kenna Heiden Hotel; 57. Eduardo del Valle & Mirta Gómez En Vista; 58. Edward Bateman Mechanical Brides of the Uncanny; 59. Todd Hido: Cracked Trees 2 copies one numbered the other labeled "AP" for Artist's Proof; 60. Todd Hido: Crooked Cracked Tree in Fog 2 copies one numbered the other marked "AP" for Artist's Proof; 61. David H. Gibson: Water Cascade: A Sequence; 62. Eiji Ina: Wacht; 63. Alec Soth: One Mississippi; 64. Mark Steinmetz: Italia: Cronaca di un Amore; 65. Pine & Woods: For Constance; 66. Hiroshi Watanabe: Love Point; 67. Terri Weifenbach: Some Insects; 68. Sally Mann Rob McDonald and Even Rogers: Cy's Rollei; 69. Corey Arnold: Fishing with My Dad 1978-1995; 70. Joni Harbeck & Neil Krug: Indian Girl; 71. Steve Fitch: Motel Signs; 72. Liz Steketee: Dystopia; 73. Stephen Shore: Pet Pictures; 74. Martin Parr: Seven Cups of Tea; 75. Stu Levy: Honk If You Love Stieglitz: Jerry Uelsmann A Grid-Portrait; 76. Leon Borensztein: Portraits ii; 77. Carol E. Richards: Birds Have Wings; 78. Melanie Pullen: Juliette; 79. Martin Usborne: Fox About Town; 80. Risaku Suzuki: Snow Letter; 81. John Divola: Supermarket; 82. Richard Misrach: iPhone Studies: Reverse Scrubs; 83. Dan Solomon: Witness; 84. Jim Goldberg: Polaroids from Haiti 2 copies one marked "AP" for Artist's Proof; 85. Roger Ballen: The Audience; 86. Doug Rickard: All Eyes on Me; 87. Aaron Ruell: Ten Years Too Late; 88. Alec Soth: Bogota Funsaver; 89. Steve Kahn: Corridors; 90. Daido Moriyama: Self 2 copies; 91. Katy Grannan: Lion King; 92. Michael Kenna: Kussharo Lake Tree; 93. Todd Hido: Season Road; 94. Elaine Ling: Habitacion Cubana; 95. Ed Templeton: Memories of the Salt.; 96. Ave Pildas: Bijou; 97. Javier Carrillo: Las Trocas Angelinas con sus Mercancia; 98. Gregori Maiofis: Taste for Russian Balet; 99. Tomoko Sawada: Face; 100. Gloria Katz: Souvenirs. Nazraeli Press unknown books
189756093Cuba IL; Chicago IL Topeka KS & St. Louis MO: Raymond Whitnah Display Products Co. Kaye Whitnah Industrial Designs 1897-1970. Fifteen vols. sized 4to. 9.5 x 12 in. up to Folio. 14 x 17 in. Approx. 1414 pp nearly all unpaginated or unnumbered. including 295 silver gelatin & silver print photographs Polaroid and albumen images sized from 2 x 2 in. up to 13 x 15 in. hand-coloured silver prints the majority of the photographs are tipped-in 8 x 10 in. images into albums with thick black paper stock some linen-backed some are hand-coloured many of the silver print designs have been hand-painted or hand-coloured most on glossy photo stock 1 albumen photo mounted on studio card sized 6 x 12 in. many w/ annotations on versos some w/ captions in lettering below or dittoed and/or mimeographed explanatory texts on versos or mounted below the images; the majority of the silver print designs are mounted on beige or black linen hinges; with four of the photo albums still preserving all or at least have of the original binding covers 2 renewed 1 w/ hand-lettered title page and table of contents; many TLS ALS promotional inserts printed catalogues printed mimeographed and dittoed text several telegrams and all preserved in archival mylar sleeves together with the remainder of the archive. With 229 original designs paintings pen & ink pencil and water-coloured drawings artist’s renderings blueprints cyanotype blue-prints ranging in size from 6 x 8 in. up to 17 x 38 in. some framed by studio board others mounted on glossy paper stock and a significant portion on tinted paper stocks of gray brown taupe and tan some loose and others mounted with linen hinges most having either the Display Products Co. printed at lower fore-edges or printed in the explanatory texts below or on versos with some signed by artist at lower edge of the image occasional soiling creasing lifting & chipping to fore-edges of some renderings others with minor creasing or curling still nearly all bright and all preserved in post-binders or portfolio cases with stamping on covers. This incomparable archive of photographs and original advertising art was created by Ray Whitnah his company Display Products Co. and later his son Kaye Whitnah who were innovative commercial artists and industrial designers through the Jazz Age Great Depression World War II and the post-War era. Ray Whitnah’s displays incorporated life-like scenes wax models and often inventive display apparatus and mechanical elements incorporating stunning Art Deco graphics and story telling all heavily influenced by the displays of L. Frank Baum Ernst Goldsman and Gordon Selfridge pioneering window display artists at Marshall Field in Chicago at the beginning of the 20th century. The first volume includes prize-winning letters for displays across the Midwest for the Pugh Store Co. department stores and later for Crosby Bros. Co. department stores in Topeka KS incorporating photos documents announcements and trade journals. Photographs in the second volume reveal how Whitnah created striking sales tableaux for women’s furs hosiery girdles bathing suits Hoover Vacuums Motorola heaters and kitchen ware. Of special interest are the surrealist bathing suit windows superimposed behind a reverse painted clock face featuring undersea flower & shell arrangements and large sea snail. Other images show striking windows for Kotex Sanitary products DeFildiss Perfumizer Eline’s candies and apple bars Nemo-Flex Corsettes Phoenix Hosiery and others. Volume III entitled the “Championship Class†album provides a superb overview of Whitnah’s prize-winning displays including an elaborate Chinese rugs window with Chinese mah jong players; Pyrex ware window featuring four & 20 blackbirds flying from the pie; a mechanical bathing display; toy display featuring paraffin falls imitating frozen water; an elaborate Congoleum flooring display; and his tour-de-force mechanical Nemo Corset Display featuring a large turntable revolving with women’s figures representing seven ages appearing in order within four minutes per revolution and a ribbon to pull the layered photos to recreate the effect in the album. The fourth album incorporates inventive millinery and women’s fashions in minimalist vignettes for the Crosby Bros. Department store with some incorporating Moorish or Oriental inspired designs vivid Art Deco backdrops and historiated scenes reflective of the fashions in the opening years of the Roaring 20s. The fifth volume reflects the increasing creativity and daring of Whitnah including window displays showing flying Hoover vacuums increased storytelling and elaborate displays for Christmas Radiola record players an elaborate fairy tale scene for Hickock belts Maytag washers featuring backdrop of children dancing around the Maypole and series of Santa Fe RR windows celebrating travel on the Honeymoon. Of particular interest in this album is the large elaborate Kotex Sanitary Specialties window entitled “Kotex: A “Justice†to the World†featuring a lady justice on top of a globe Kotex packaging balanced in the scales and other products displayed around the window.The sixth & seventh albums mark the 1930 shift by Ray Whitnah to establish not only his own manufacturing company for window display fixtures and apparatus but also an Automotive Displays Inc. intending to target the burgeoning window display market with automobile dealers across the country producing lithograph posters newspaper camera ready ads catalogues along with flood lights backgrounds finished products no chassis and one-lithograph signs. The company was incorporated in Delaware in 1931 with Whitnah holding 51% of the voting stock. The sixth volume shows many different devices for displaying men’s clothes wooden shirt stands adjustable clothes stands and even their introduction into the Cohn-Storthz men’s shop in St. Louis MO. The famed St. Louis Mart and Terminal Warehouse was a massive Art Deco edifice later named the Robert A. Young Federal Building and designed by Preston Bradshaw who began with McKim Mead & White. Acquired by the U.S. Army in 1941. Volumes VIII thru XIII consist primarily of original artwork and renderings by Whitnah and his Display Products Co. team for a variety of companies and encompassing a broad range of stands risers product displays and mechanical devices to create stunning advertising displays. These include ocean liner stacks for swim togs Easter bunny displays stork displays for infant apparel as well as a striking 4 foot tall hat box display store unit which holds hatboxes. Also included are Art Deco streamline inspired Concert Rotors for Christmas merchandise a custom built beach shop toy & gift displays for toy departments and more. Volume IX & X include large vividly coloured Art Deco Christmas Box and North Pole holiday designs; decorations and metal filigree displays for handkerchiefs and windows; a large giraffe and a firework display unit for toys and of special interest a vivid “Bell-Hop Series’ display pieces of caricature Chinese-American and African-American display holders for Christmas wreaths. In addition Whitnah’s company had developed the “Horizons†display system which included Flexible Wood Panels that could be incorporated into window displays become the window display themselves and served as a kit system to attach other Display Products Co. fittings all executed with an Art Deco modernist aesthetic. The Horizon system also incorporated interchangeable forms to create arresting streamline floor and window displays that would enable the company to come into any department store client’s business and create an entire display system for them right down to the glue and lighting. Volume XI presents artwork of caricature cartoon and humor signs drawing from major cartoonist of the period and created exclusively for the Display Products Co. each mounted as enameled triangle and hanging from stanchions next to the Men’s Department or other Departments employing their display fixtures. Many of the original designs in the last couple volumes reflect an animated whimsey with stylized figurines cartoon-like characters some appearing to draw from Held while others from Pogo or other animators of the 1930s-1950s and many of the drawings with a decided Western inspired cowboy theme. Also appearing in these portfolios are many designs incorporating bamboo and bamboo shapes for stands displays shelving and backdrops. Many of the silver print blueprints and reproduced designs refer to the specific wood finishes on the wood carved and wooden stands created by the company. The final volume is devoted to the seat and interior designs by Kaye Whitnah for the Sabrejet 60 upgrade noted in this design proposal as the Sabre 70 and dated 1970 which would later become the Sabrejet 75 when it went into production at the end of the 1970s. Featuring 5 windows on the fuselage the Sabrejet Series 60A was over 3 feet longer than the original series 40 approved in 1963. The original drawings show window and and window frame assembly units as well as the interior cabin and seats designed by Whitnah along with manufacturing steps and Polaroid photos showing the process. Ray Whitnah 1893-1973 was the son of Arthur Whitnah a general store owner in Cuba IL and later Gardner KS where he worked as a sign painter and letterer until 1909 when he moved to Chicago to take a course in window display at the Chicago School of Window Decorating apprenticed with Jack Cameron -- famed commercial artist and designer at the Harris Emery Co. Department Store in Des Moines IA and later as the display manager for the 35 store Pugh Store Co. chain. After their bankruptcy in 1919 he became the prize-winning display manager for Crosby Bros. and by 1930 had set up his own successful display businesses in St. Louis MO where he would remain for the rest of his life. Kaye Lamoyne Whitnah 1918-1992 worked with father by World War II as an industrial designer and artist with Display Products Co. at 3944 1/2 Olive in St. Louis MO. Also an inventor he patents portable grids for Terrazzo Floor securing plates in displays in 1968 and later became the only manufacturer in the United States for the BMW Isetta parts with a customer list of 350 different Isettas. He was the owner of Whitnah’s Angler’s Isle Resort in Hay Lake MO and by 1989 had accumulated a collection of 13 1/2 Isettas manufacturing gas caps windshields and even hubcaps by creating molds and designs from the original parts. See: Appliances for Pillar Decorations Merchants Record & Show Window 1919 vol. XLV No. 5 p. 28-29. Who’s Who in the Profession R.T. Whitney Crosby Bros. Topeka KS Merchants Record & Show Window 1919 vol. 44 pp. 46-48; Designer Defies “Bubble Car†Parts Blight Pine River Journal Vol. 54 No. 17 July 13 1989. Raymond Whitnah, Display Products Co., Kaye Whitnah, Industrial Designs, hardcover
195231576Exceptionnelle réunion de Cartier-Bresson et Clergue sur le plus célèbre des ouvrages du premier. Paris, Éditions Verve, (22 juillet) 1952. 1 vol. (275 x 370 mm) non paginé. Cartonnage illustré de l'éditeur, d'après une composition d'Henri Matisse. Édition originale. 126 reproductions photographiques. Exemplaire Lucien Clergue, avec une dédicace au crayon multicolore. Envoi signé : «à Clergue, bien cordialement, Henri Cartier Bresson, Arles, 6 juillet 59 ».
1768905061768. Chō Gessho 張月樵 and Kazaore Yūjo 風折有丈 artists. Zoku Koya Bunko 続姑射文庫 5 vols. Nagoya Kansei 寛政 10 1798. 5 volumes 27 X 18cm string-bound Japanese-style fukuro-toji. Original format with original covers and title labels housed in a modern striped chitsu with clasps 27.3 x 19cm. Original monochrome woodblock prints many double page with Japanese text. Edited by Bōkō 暮雨巷. A sequel to Koya Bunko 姑射文庫 done in 1768. The "Sequel to the Koya Library" done by principal artist Chō Gessho 張月樵 1765-1832 and Kazaore Yūjo 風折有丈 is a remarkable rarity that captures the vibrant world of art and poetry centered on haikai and haiga in Nagoya. It is justly celebrated by critics from Brown to Hillier and was featured in the Library of Congress' major Japanese art exhibition "The Floating World of Ukiyo-e: Shadows Dreams and Substance." With hundreds of full-page black and white woodblock images it is probably the most extensive original example of the Haiga aesthetic in existence. Vol 1 has 52 cho Vol 2 has 50 cho Vol 3 has 53 cho Vol 4 has 53 cho and Vol 5 has 56 cho including colophon. Identical to Volumes held in ARC Koten Seki portal database online Ritsumeikan University 立命館大学 with the exception of an added modern page to their introduction in Vol 1. In very good condition throughout worn original covers and title labels worming on rear wrapper of vol 5 very good impressions. Mitchell 564. unknown books
190601-G1906. Öl auf Leinwand, links unten signiert und datiert ?Eug. Bandell 1906?, verso auf dem Keilrahmen von der Künstlerin nochmals signiert und datiert sowie betitelt. 84,5:64 cm. Literatur: S. Sumera, Eugenie Bandell (1858-1918), Eine Frankfurter Malerin - das Spätwerk. Magisterarbeit, Univ. Frankfurt am Main, 1996, Nr. 99; Ausst. Katalog: Frankfurter Malerei seit der Jahrhundertwende. Galerie und Kunstantiquariat Joseph Fach, Frankfurt am Main, 1988, Nr. 6 mit Farbabb. auf dem Titel; Ausst. Katalog: Frauen an der Staffelei - Ein vernachlässigtes Kapitel der Frankfurter Kunstgeschichte. Frankfurter Sparkasse von 1822, Frankfurt am Main 1994.
181946939Tbilisi.: 'Feniks'. December 1918 - 1919 February / March. Stapled as issued in original publisher's printed paper wrappers with titles to front covers in black issue no. 2 in red and black issues 2 and 3 /4 with publisher's vignettes issue 1 with advertisements to rear cover; repair to spine of issue 1 front cover of issue 2 detached. 4 issues in 3. 4to. c.220 x 190 mm. Printed text and verse in Russian throughout no. 1 with 3 mounted monochrome zincograph illustrations by A. N. Geevski no. 2 with monochrome illustrations by Terent'ev and P. Iashvili issue 3 with monochrome illustrations by Goncharova and Kruchenykh. An excellent complete set of the very scarce avant garde periodical 'Kuranty'.The short-lived literary and artistic periodical 'Kuranty' produced in Tbilisi during the Russian Civil War features contributions from many of the most important Russian and Georgian avant garde figures of the time: Alexei Kruchenykh and Igor Terent'ev contributed a large body of material but the contributions of Kyril Zdanevich the editor Boris Korneev Nikolai Sudeikin Tatiana Vechorka Rafalovich and others cannot be overlooked. Natalia Goncharova's 'Portrait of A. Kruchenykh' is reproduced in the final issue together with portraits by Kruchenykh himself.This Tbilisi-produced 'Kuranty' is not to be confused with the review 'Kuranty' published in Kiev in the same year and also of considerable rarity.'Kuranty' is extremely scarce and we can locate no complete sets in libraries although a facsimile is held and Johns Hopkins holds a copy of issue 1; auction records feature one complete copy only that sold at Christie's in 2014 as well asone other incomplete set also Christie's in 2007. 'Feniks'. unknown
2936<p><strong>Celebrated portfolio reproducing with striking pochoirs Goncharova and Larionov's works for the avant-garde stage and showing a variety of styles on large folding plates.</strong></p><p><strong>First edition limited to a total of 515 copies this one no. 162: a pleasant example complete in its original folder.</strong></p><p>Goncharova and Larionov met at art school in Moscow forming a life-long professional and personal partnership. They were founding members of several radical artistic groupings and in 1913 under the influence of Cubo-Futurism they invented Rayonism which pioneered the movement towards abstractionism in Russian art. On the invitation of Diaghilev they went to Paris in 1914 to work on costume and set design for the Ballets Russes. Like Bakst and Picasso who also designed for Diaghilev Goncharova and Larionov "transcended the frames of their studio paintings to use the theatre as a laboratory of material forms each applying different strategies but all united within what Larionov called a 'universe existing alongside the world of reality'." Bowlt</p><p><strong>"Entre les nouvelles formes que le vingtième siècle a données aux arts l'expression nouvelle de l'art décoratif fut trouvée par la génie de deux peintres – Larionow et Gontcharova.</strong>" From the introduction by Parnakh.</p><p>The present portfolio was published for Larionov and Goncharova's exhibition of theatre designs at the Galerie Barbazanges. It opens with Goncharova's sets for the ballet Le coq d'or her 1914 debut with the Ballets Russes and continues with various costume and make-up designs 'Costume russe' 'Kikomora' etc. before ending with colourful pochoirs stencils including Larionov's cricket costume 'Le Grillon' for the ballet Histoires naturelles with music by Ravel: an outré example of why performers found Larionov's designs a challenge to wear.<br />Also included is Valentin Parnakh's essay discussing Larionov's theories about dance and theatre and singling out the artist as the initiator of new types of choreography including dances based on free movements types of gait animal movements mechanical dance and social dance related to work. His text is embellished with tipped-in illustrations of sets and costumes some in colour on glossy paper.</p><p>"While Larionov and Goncharova recognised the importance of Western art on avant-garde artistic practice their work simultaneously fostered a distinctly Eastern character" Fox something particularly visible in this remarkable publication.</p><p>Description<br />Folio 33.2 x 25.8 cm. 18 pp. incl. limitation leaf title with colour bullseye pochoir and introductory essay with 8 tipped-in illustrations 2 pp. list of illustrations and plates 1 p. limitation 8 colour lithographs incl. 3 tipped-in and 6 pochoir plates including 5 double-page and folded.<br />Binding<br />Loose as issued in original publisher's printed portfolio with flaps upper wrapper with vignette in black by Larionov.<br />Condition<br />Minor staining on wrappers slight offset from title vignette and on a couple of the folded pochoirs minor browning to folds as usual an overall clean crisp example.<br />Bibliography<br />Fox D. " The Transgressive Art of Natalia Goncharova" online; Bowlt J.E. " Léon Bakst Natalia Goncharova and Pablo Picasso" in J. Pritchard ed. Diaghilev and the Ballet Russes: When Art Danced with Music. London: Victoria and Albert Museum 2013. pp. 103-28. ref: 2936</p> Paris, Crété for 'La Cible', 1919.
140938852Portland OR: Nazraeli Press 2017. First Edition. Fine. 124 Volumes 100 titles five multi-volume deluxe sets and duplicates of several titles several labeled AP for Artist's Proof. A complete run of the celebrated series which features 100 uniformly sized books of various colors giving each artist a 16-page canvas to exhibit a cohesive body of work. Each volume is limited to 500 copies and each contains one photographic print tipped in and signed by the artist--hence the name of the series. Conceived in 1998 as a way to make original art more affordable titles were originally released in groups of four generally twice a year beginning in 2000 and ending in 2017 with most copies reserved in advance for subscribers. Complete sets of the 100 titles are uncommon as many volumes are out of print; even more uncommon are those with the deluxe box sets as few were issued toward the beginning of the series. All volumes are Fine to Near Fine. Several volumes with light spine sunning or a slight shelf lean.<p><br /> <br /> The deluxe sets are by John Gossage Four American Photographs Todd Hido Taft Street Eduardo del Valle & Mirta Gomez Four Sections of Time all marked as "AP" or artist's proofs Judy Gelles Beach Boxes and Emi Anrakuji e hakagi<br /> <p><br /> <br /> Comprised of 1. Terri Weifenbach Instruction Manual No. 1: 21. May 1995; 2. John Gossage Four American Photographs 4-volume set in slipcase; 3. Terri Weifenbach Instruction Manual No. 2: 21. April 1996 "Bee"; 4. Terri Weifenbach Instruction Manual No. 3: 25. June 1996 "Blue Sky"; 5. Chan Chao Letter from P.L.F. Burma; 6. Todd Hido Taft Street 4-volume set in slipcase; 7. Ron van Dongen Rosa Ferreus; 8. Susan Hornbeak-Ortiz True; 9. Bill Jay Bill Brandt 2 copies; one signed as usual on limitation line and there the other marked "print signed on verso"; 10. Julien Coulommier Soleil Cou Coupe; 11. Yuki Onodera How to Make a Pearl; 12. Robert Adams Alders; 13. Risaku Suzuki Fire: February 6; 14. Robert Heinecken studiesnineteenseventy; 15. Don Kirby You're not really initiated until your eyes are redder than your lips; 16. Masao Yamamoto The Path of Green Leaves; 17. Martin Parr 7 Communist Still Lifes; 18. Andreas Müller-Pohle Yumiko; 19. Sara Gilbert Cues; 20. Toshio Shibata Type 55; 21. Michael Kenna Boarding School; 22. Eduardo del Valle & Mirta Gómez Four Sections of Time 4-volume set all marked as "AP" or artist's proofs; 23. Weng Fen Sitting on the Wall & Bird's Eye View; 24. Judy Gelles Beach Boxes 1 copy 4-volume set in slipcase; 25. Naoya Hatakeyama River Series / Shadow; 26. Boomoon Kwon On the Clouds; 27. Camille Solyagua Twenty-One Red-Crowned Cranes and One Black Crow; 28. Martin Parr 7 Colonial Still Lifes; 29. Jim Stone Why My Photographs are Good; 30. Stu Levy Cranial Czar Eh; 31. Ken Ohara One; 32. Steve Pyke: Post Partum; 33. Steve Pyke: Post Mortem; 34. Joseph Mills e mars Lilly's Waist; 35. Yuichi Hibi Robert Frank A Weekend with Mr. Frank; 36. Twinkako Ishiwata-Pichler Desperately Seeking Twinka; 37. Ron van Dongen A. angustatum; 38. Junko Takahashi The Receptionist; 39. Daido Moriyama Kuchibiru; 40. Emi Anrakuji e hagaki 7 volumes included with 6 unique prints; no slipcase present perhaps as issued; 41. Michael Kenna Montecito Garden; 42. Tanya Marcuse Fruitless; 43. Stephen Shore Merced River; 44. Jesse Diamond Drum Circle; 45. Nancy Honey Poodle Parlour; 46. Lars Schwander Manuel Ãlvarez Bravo: One Day in April 1999; 47. John Divola Seven Dogs; 48. Masao Yamamoto Fujisan; 49. David Maisel Cascade Effect; 50. Rob McDonald Birth Place; 51. Netta Madahar Sustenance; 52. David Tseklenis Julius Shulman Does His Own House; 53. Joe Deal Indian Bingo; 54. Raymond Meeks Doctrine of an Axe; 55. Mayumi Lake Ex Post Facto; 56. Michael Kenna Heiden Hotel; 57. Eduardo del Valle & Mirta Gómez En Vista; 58. Edward Bateman Mechanical Brides of the Uncanny; 59. Todd Hido: Cracked Trees 2 copies one numbered the other labeled "AP" for Artist's Proof; 60. Todd Hido: Crooked Cracked Tree in Fog 2 copies one numbered the other marked "AP" for Artist's Proof; 61. David H. Gibson: Water Cascade: A Sequence; 62. Eiji Ina: Wacht; 63. Alec Soth: One Mississippi; 64. Mark Steinmetz: Italia: Cronaca di un Amore; 65. Pine & Woods: For Constance; 66. Hiroshi Watanabe: Love Point; 67. Terri Weifenbach: Some Insects; 68. Sally Mann Rob McDonald and Even Rogers: Cy's Rollei; 69. Corey Arnold: Fishing with My Dad 1978-1995; 70. Joni Harbeck & Neil Krug: Indian Girl; 71. Steve Fitch: Motel Signs; 72. Liz Steketee: Dystopia; 73. Stephen Shore: Pet Pictures; 74. Martin Parr: Seven Cups of Tea; 75. Stu Levy: Honk If You Love Stieglitz: Jerry Uelsmann A Grid-Portrait; 76. Leon Borensztein: Portraits ii; 77. Carol E. Richards: Birds Have Wings; 78. Melanie Pullen: Juliette; 79. Martin Usborne: Fox About Town; 80. Risaku Suzuki: Snow Letter; 81. John Divola: Supermarket; 82. Richard Misrach: iPhone Studies: Reverse Scrubs; 83. Dan Solomon: Witness; 84. Jim Goldberg: Polaroids from Haiti 2 copies one marked "AP" for Artist's Proof; 85. Roger Ballen: The Audience; 86. Doug Rickard: All Eyes on Me; 87. Aaron Ruell: Ten Years Too Late; 88. Alec Soth: Bogota Funsaver; 89. Steve Kahn: Corridors; 90. Daido Moriyama: Self 2 copies; 91. Katy Grannan: Lion King; 92. Michael Kenna: Kussharo Lake Tree; 93. Todd Hido: Season Road; 94. Elaine Ling: Habitacion Cubana; 95. Ed Templeton: Memories of the Salt.; 96. Ave Pildas: Bijou; 97. Javier Carrillo: Las Trocas Angelinas con sus Mercancia; 98. Gregori Maiofis: Taste for Russian Balet; 99. Tomoko Sawada: Face; 100. Gloria Katz: Souvenirs. Nazraeli Press unknown
183852830New York:: Bufford's Lithography 1838. First edition thus. stitched and enclosed in unprinted blue paper wrappers as issued; enclosed in a custom cloth folding box. . Some scattered inoffensive foxing; beautiful original condition. Rare. Folio. Ten lithographs and five engraved maps. . Deak Picturing America 477. These views and maps illustrate NYS Assembly Document 200 1838 and were also issued separately. Deak: "This early series of ten lithographic views and fine engraved maps constitutes one of the most important keys to the iconography of the Adirondack region." Bufford's Lithography, hardcover
19917616New York: Bulletspace etc. 1991. First Edition/Limited Edition. Hardcover. Fine in Fine Rubber Wrapper. Very minor shelf/edge wear to spine else tight bright and unmarred. Black rubber sheet wrapper numbered in white ink with the limitation. Wooden boards rubber hinges bolted spine boards/spine covered in lead painted lettering on boards. fo. np. Illus. color and b/w plates. Limited numbered edition this being ___ of 150. All posters signed by the artist. <br/><br/>“This project is a collection of images and texts defining and expressing the broad and essential issue of housing on the Lower East Side and is a statement of the underlying force of ‘art as a means of resistance’. It is both a documentation and expression of social/political issues in our neighborhood and on a larger scale to symbolize similar conflicts in other parts of the world.” Bulletspace <br />Printed at Bullet Space an anarchist squatter community since 1982 The Lower East Side Workshop Black Cat Printshop Cooper Union and the Brandywine Workshop. Funded by Art Matters Artist Space Northstar Fund Andy Warhol Foundation. The work includes 32 silkscreened posters on Mohawk vellum paper all signed by the artists: Paul Castrucci; John Fekner; Stash Two; Tom McGliynn & Emily Carter; Day Gleeson & Dennis Tomas; Nadia Coen; Anton Von Dalen; Juan Sanchez; Martin Wong; Miguel Pinero & Andrew Castrucci; Betzaida Concepcion; Seth Tobocman; Sabrina Jones; Red Rodriquez; Marguerite Van Cooke & James Romberger; Neighborhood News; David Wojnarowicz; Lee Quinones & Eduardo Galleano; Lady Pink; Sebastian Schroeder; Missing Foundation; Salter Sipser; Bruce Witsiepe; Will Sales; Vincent Galgliostro & Avram Finkelstein; Eric Drooker. <br />"This project is a collection of images and texts concerning the broad and essential issue of housing on the Lower East Side of Manhattan." It presents a series of posters created to bring attention to New York City's campaign of condemning entire blocks of decent low-income housing in order to demolish them and build more taxable high-rise housing. It is a document of an impressive and provocative public art project featuring some of the most well-known artists of this activist art movement centering on housing economics healthcare gay and lesbian and other civil rights.and of the American art world of the time. Many of the artists have become well-known in recent years with their works represented in collections at the Museum of Modern Art the Metropolitan Museum of Art the Whitney Museum of American Art the Museum of the City of New York El Museo del Barrio the Brooklyn Museum etc. Several artist included have emerged as major figures in the Graffiti Art Movement. Several are now faculty at prestigious colleges. <br />Each of the posters was printed in an edition of approximately 300 half formed the core of this book series the rest were posted in the neighborhood. These posters catalyzed and sometimes escalated the intensity of the dialog around the ongoing issues of gentrification conservation urban development and social justice that is the bedrock of the Lower East Side experience. Beyond that culturally the posters embody a 20th Century movement where artists combined innovative materials design and aesthetics with radical and populist politics that had a great impact on the art world of New York and beyond. The unusual heavy lead-covered binding was designed to convey the feeling of oppression. <br />The significance of the work.and a reason for its increasingly scarcity.can be seen in an overview of institutions who now hold a copies: Brooklyn Museum NY; Cooper-Hewitt NY; Fogg Museum at Harvard University MA; Getty Institute Los Angeles CA; Gutenberg Bibliotek Germany; Herzon Museum Germany; Mainz Bibliotek Germany; MoMA NY; Museo del Commune di Milan Italy; Offenback Bibliotek Germany; Pesci Museum Italy; Smith College MA; Spencer Collection at Yale University CT; Staadt Museum Germany Stielich Bibliotek Germany; University of Kansas KS; Kohler Art Library at University of Wisconsin WI; Victoria and Albert Museum UK; Wellesley College MA; the Whitney Museum of American Art NY." Bulletspace <br />The final line of the forward to Your House is Mine reads “We have taken this opportunity to unite the following people in this collaborative project as a statement of ‘art as a means of resistance.’” It is a remarkable statement. Bulletspace, etc. hardcover books
7616New York: Bulletspace etc. 1991. First Edition/Limited Edition. Hardcover. Fine in Fine Rubber Wrapper. First Edition/Limited Edition. Hardcover. "This project is a collection of images and texts defining and expressing the broad and essential issue of housing on the Lower East Side and is a statement of the underlying force of 'art as a means of resistance'. It is both a documentation and expression of social/political issues in our neighborhood and on a larger scale to symbolize similar conflicts in other parts of the world." Bulletspace<br /> Printed at Bullet Space an anarchist squatter community since 1982 The Lower East Side Workshop Black Cat Printshop Cooper Union and the Brandywine Workshop. Funded by Art Matters Artist Space Northstar Fund Andy Warhol Foundation. The work includes 32 silkscreened posters on Mohawk vellum paper all signed by the artists: Paul Castrucci; John Fekner; Stash Two; Tom McGliynn & Emily Carter; Day Gleeson & Dennis Tomas; Nadia Coen; Anton Von Dalen; Juan Sanchez; Martin Wong; Miguel Pinero & Andrew Castrucci; Betzaida Concepcion; Seth Tobocman; Sabrina Jones; Red Rodriquez; Marguerite Van Cooke & James Romberger; Neighborhood News; David Wojnarowicz; Lee Quinones & Eduardo Galleano; Lady Pink; Sebastian Schroeder; Missing Foundation; Salter Sipser; Bruce Witsiepe; Will Sales; Vincent Galgliostro & Avram Finkelstein; Eric Drooker. <br /> "This project is a collection of images and texts concerning the broad and essential issue of housing on the Lower East Side of Manhattan." It presents a series of posters created to bring attention to New York City's campaign of condemning entire blocks of decent low-income housing in order to demolish them and build more taxable high-rise housing. It is a document of an impressive and provocative public art project featuring some of the most well-known artists of this activist art movement centering on housing economics healthcare gay and lesbian and other civil rights.and of the American art world of the time. Many of the artists have become well-known in recent years with their works represented in collections at the Museum of Modern Art the Metropolitan Museum of Art the Whitney Museum of American Art the Museum of the City of New York El Museo del Barrio the Brooklyn Museum etc. Several artist included have emerged as major figures in the Graffiti Art Movement. Several are now faculty at prestigious colleges. <br /> Each of the posters was printed in an edition of approximately 300 half formed the core of this book series the rest were posted in the neighborhood. These posters catalyzed and sometimes escalated the intensity of the dialog around the ongoing issues of gentrification conservation urban development and social justice that is the bedrock of the Lower East Side experience. Beyond that culturally the posters embody a 20th Century movement where artists combined innovative materials design and aesthetics with radical and populist politics that had a great impact on the art world of New York and beyond. The unusual heavy lead-covered binding was designed to convey the feeling of oppression. <br /> The significance of the work.and a reason for its increasingly scarcity.can be seen in an overview of institutions who now hold a copies: Brooklyn Museum NY; Cooper-Hewitt NY; Fogg Museum at Harvard University MA; Getty Institute Los Angeles CA; Gutenberg Bibliotek Germany; Herzon Museum Germany; Mainz Bibliotek Germany; MoMA NY; Museo del Commune di Milan Italy; Offenback Bibliotek Germany; Pesci Museum Italy; Smith College MA; Spencer Collection at Yale University CT; Staadt Museum Germany Stielich Bibliotek Germany; University of Kansas KS; Kohler Art Library at University of Wisconsin WI; Victoria and Albert Museum UK; Wellesley College MA; the Whitney Museum of American Art NY." Bulletspace<br /> The final line of the forward to Your House is Mine reads "We have taken this opportunity to unite the following people in this collaborative project as a statement of 'art as a means of resistance.'" It is a remarkable statement. Very minor shelf/edge wear to spine else tight bright and unmarred. Black rubber sheet wrapper numbered in white ink with the limitation. Wooden boards rubber hinges bolted spine boards/spine covered in lead painted lettering on boards. fo. np. Illus. color and b/w plates. Limited numbered edition this being ___ of 150. All posters signed by the artist. Bulletspace, etc. hardcover
201931940Les derniers costumes de Kenzo, pour Madame Butterfly [circa 2019]. 16 croquis originaux (210 x 280 mm), à l'encre, feutre, mine de plomb ou aquarelle. En feuilles, sous emboîtage à rabat signé de Julie Nadot. Exceptionnelle réunion de dessins originaux réalisés par Kenzo Takada pour les costumes de Madame Butterfly, ultime création artistique du couturier, donnée à l’Opéra Nikikai de Tokyo en 2019.
19195245-vitrineDen Haag: Levisson 1919-37. In total 92 issues of De Reclame also De Bedrijfsreclame published between 1919 and 1937. All issues in original illustrated wrappers printed in various colours with various lay-outs by various artists abundantly illustrated with b/w and colour illustrations as well as dozens of tipped in and loose samples and appendices. The series contain hundreds of articles about corporations and artists such as Piet Zwart Cassandre Paul Schuitema Louis Kalff V. Huszar Jac Jongert A.D. Copier O. Wenckebach Majakowski Von Stein etc. Year 1919 no: 10 12 ; 1920: 2 3 4 5 6 7 8 ; 1921: 2 3 ; 1922: 2 3 8 9 10 ; 1923: 4 5 6 7 8 9 10; 1924: 3 6 7 10 12 ; 1925: 2 4 5 6 8 10 12 ; 1926: 1 2 4 8 9 ; 1927: 1 2 4 6 9 10 11 12 ; 1928: 1 2 6 7 8 9 11; 1931: 7 11 ; 1932 weekly: 1 2 3 4 7 8 10 13 14 15 16 17 18 20 21 24 25 27 29 30 31 32 34 36 37 38 39 41 42 43 ; 1934: 2 ; 1935: 4 8 ; 1937: 10 11. All issues are sold seperately as well costing between 50 euro and 400 euro each. De Reclame successor of De Bedrijfsreklame was published between 1922-1937. The first issue appeared in January 1922 under the guidance of B. Knol and Machiel Wilmink. A year later De Vereeniging van de Reclame was established. Printer Levisson from The Hague was also involved with De Reclame. In January 1928 the magazine De Reclame became the organ of the Genootschap voor Reclame established 1927. An interesting set. Levisson unknown
192129047Premier livre illustré par Juan Gris Paris, Editions Galerie Simon, 1921. 1 vol. (235 x 325 mm). Broché. Édition originale. Illustré de quatre lithographies hors-texte par Juan Gris. Un des 90 exemplaires sur hollande signé au colophon par l'auteur et l'artiste. Premier livre illustré de gravures originales par Juan Gris, et première apparition de la couleur dans la production éditoriale de Kahnweiler : le bleu, le vert, le bistre et l’ocre sont utilisés. C'est également la première fois que les illustrations portent clairement un titre ou une légende.
63846Eight large aquatint etchings each approx. 14" x 18" on ca. 17" x 24" sheets; titled as follows: "Pirouette;" "Ballotade;" "Piaffe;" "Spanish Walk;" "Levade;" "Capriole;" "Pasade;" and "Croupade;" each signed in pencil lower right; edition of 50. In the original hinged gallery mats; small areas of discoloration to margins from mounting tape well away from printed area; one mat lacking a portion of border; still close to Fine. Together with an additional 47 related original artworks signed and unsigned including 29 etchings being proofs and preliminary states of the finished prints 15 sheets of pen-and-ink studies and three watercolors. Also present are several offprints of Helen Hill Miller's article "Ballet of the White Stallions: The Lipizzaners of Vienna's Spanish Riding School" published in the December 1960 issue of Esquire for which these prints were originally commissioned; two copies of the printed poster advertising Groth's 1960 exhibition at the Janet Nessler Gallery titled "The Horse in Sport;" the entirety housed in a hand-made art-paper portfolio boldly brush-signed and with a mounted signed ink sketch above the signature. A significant archive demonstrating the legendary illustrator's technique from preliminary sketch to finished etching. Many of the sketches and proofs are heavily marked-up in the artist's hand; others are signed and clearly intended to be finished works. The finished etchings printed in deep maroon ink on a white ground are stunning and apparently rare with no examples having been recorded in the secondary market since their original appearance at the Nessler Gallery in 1960 where they sold for $50 apiece - a princely sum at the time reflecting Groth's lingering fame as a battlefield illustrator during the Second World War; but also indicative of the great refinement of these works which while retaining a good deal of Groth's famously gestural style apparent in his studies and sketches for these works are exquisitely composed balancing the athleticism and the classical elegance of their subjects. Miller's article was one of the first to introduce the Lipizzaner Stallions to a popular American audience. Not until 1970 would the Spanish Riding School perform its first world tour introducing classical dressage in its highest form to a broad and appreciative public. PROVENANCE: from the archive of the artist acquired by us in 2015. unknown
