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Volume/Band 7: lix + 688pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87110
Volume/Band 10: lii + 640pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87113
Volume/Band 11: xiv + 680pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition, S87114
Volume/Band 12: xiv + 680pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition, S87115
Volume/Band 13: xiv + 690pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition, S87116
Volume/Band 14: xxiv + 696pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition, S87117
Volume/Band 15: xv + 695pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87118
Volume/Band 8: lix + 640pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87111
Volume/Band 9: lix + 640pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87112
ix + 623pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87148
xiv + 581pp., 25cm., editor's hardcover (cloth), dustwrapper, protected in editor's cart. slipcase, fine condition (never used), S87151
16996Good. Solid copy with a tight binding. Cover nicks scratches. Small area of soil inside back cover. Cover protected by clear plastic jacket. unknown
196075436Boston: The Artist ca. 1960. Original woodblock print by James Reuben Reed. One of 50 copies. It measures 12 x 18 inches including margins. Reed's monogram at the bottom of the print. Signed numbered and titled by Reed at bottom margin. Bit of foxing and paper evenly toned. A striking image.The painter James Reuben Reed was born in Kansas City Missouri to African parents in 1920. Shortly after his father and brother were slain in a racist conflict his mother died. As an orphan he moved to Hartford CT and studied painting and decorating at the Connecticut State Trade School. In the 1940s Reed studied portraiture and still life painting at the Scott Carbee School of Art in Boston eventually receiving an Atlanta University purchase prize for his work. Reed was also a cofounder of both the Boston Negro Artists Association now the Boston African American Artists Association and the African-American Master Artists in Residence at Northwestern University. The Artist unknown
10617Many black & white illus. 199 pp. 4to pictorial softcover text block loose title on spine. Barcelona: Metrònom 1981.<br /> <br> <br> Scarce catalogue on artists’ books with texts by Ulises Carrión Hubert Kretschmer and Guy Schraenen who all assisted in the organization of the exhibition. With numerous installation photographs and reproductions of the books on display. A fair copy; text block has come loose and some leaves loose. unknown
200413629New York: Metropolitan Museum of Art. Like new hardcover with dustjacket and ex cat June 10 - Sept. 12 2004 1 pp sponsors statement - The Peter Jay Sharp Foundation 1 pp sponsors statement The Bank of NY 1 pp director's foreword 1 pp ack 374 figure illus. mostly 4/C 244 6 pp chronology 31 pp list of exhibitions in his lifetime. . Like New. Hardcover. 2004. Metropolitan Museum of Art hardcover
19812176Naples: Società Editrice Napoletana 1981. Portfolio containing introductory text in Italian and 64 loose facsimile plates printed in bluish black ink. Sheets measure approximately 19 1/2 x 13 3/4 inches 500 x 350 mm full margins. A twentieth-century luxury facsimile portfolio featuring celebrated views architectural renderings and topographical plates of the Campania region. The plates offer exceptionally crisp reproductions of 18th-century Grand Tour iconography capturing historic vistas archaeological excavations and cultural landscapes of Naples Vesuvius Phlegraean Fields Capri and the wider Campanian countryside. Paper portfolio case has some minor handling wear and surface soiling. Contents within are in very good condition. The Abbé de Saint-Non Jean-Claude Richard 1727-1791 was a French connoisseur artist and patron. Between 1781 and 1786 he published a massive five-volume masterwork titled Voyage pittoresque ou Description des royaumes de Naples et de Sicile. It was one of the most lavishly illustrated productions of the 18th century capturing the height of the "Grand Tour" fascination with classical antiquity and the romantic landscapes of Southern Italy. Saint-Non collaborated with top-tier artists of the era most notably Hubert Robert Jean-Honoré Fragonard and Claude-Louis Châtelet to sketch the ruins vistas and daily life of Campania which were then meticulously engraved by master French printmakers. Società Editrice Napoletana unknown
194412619New York: American Veterans Society of Artists Inc 1944. Staplebound. Near fine. Small octavo unpaginated 24pp. illustrated. A near fine copy in the publisher's stapled wraps. A smoker's copy with faint tobacco odor. Staples rusted else a sound clean example. SIGNED and generically INSCRIBED by Frederic Allen Williams then President of the organization as well as a contributing artist. A catalogue for the sixth such exhibition this one held during the height of America's involvement in World War II five months after D-Day. There are sixteen halftone illustrations depicting some of the work on display; mostly painting but some sculpture as well. While all of the art is competent some of it is truly impressive and it's clear that while the organization welcomed a range of talent most of the artists had some mastery of their form. Williams in his introduction to the catalogue writes: "The demoralizing influences of war are obvious throughout the country and have made a great impression on creative genius. As the clouds of war pass by art shall bloom again nurtured by the sanity of American Art tradition and fed by the passion of young blood. Stand by and support American Art." Williams was a privileged Bostonian and a veteran of World War I. While he didn't see actual combat there can be no question that the experiences of his comrades left a great impression on him and he became involved with the American Veterans Society of Artists. He was an early member of the artist set in Taos and his work was exhibited in countless mainstream museums during his lifetime. The pamphlet is scarce--in fact we find no holdings of this exact one in OCLC and just a handful of other near-contemporary ones. We also have had toruble finding examples of his signature outside of original artwork. As such a desirably scarce example. American Veterans Society of Artists, Inc unknown
196621858Detroit: Artists Workshop 1966. First edition. Loose Sheets. Fine. Single 8 1/2 x 11" sheet of tan paper. Contains a single poem published at the Artists Workshop in Detroit circa 1966. Part of a series of "Free Poems Among Friends" that begab in San Francisco in 1965 and moved to Detroit the following year. Fine condition. Scarce. <br/><br/> Artists Workshop unknown books
19214852London: The Studio 1921. First edition. Hardcover. Near Fine. 4to 1/4 parchment no glassine or slipcase <br/><br/> The Studio hardcover
51-4808Lille: Galerie Saint-Jacques-Solange Simon 1973. Invitation et coupures de presse.Als from Edouard and Berman to Simon. Provenance succession Solange Simon1920-2016. Elle fut galeriste à Lille dans les années 60-80 puis collabora avec la galerie Convergences à Nantes dans les années 80-90.Elle fut également peintre s'inspirant beaucoup de Pignon Chagall ou de Staël entre autres. Expertise by Vincent Cesbron. Lille: Galerie Saint-Jacques-Solange Simon, 1973. unknown
1975316985Beijing: Renmin tiyu chubanshe 1975. Poster. 30x41.5 inch poster of the late Cultural Revolution period some chips at upper left corner could be covered if matted for framing. "Leap to new heights." At upper left is a quote from Chairman Mao "The Chinese people have ambition and ability and will certainly catch up with and surpass the world's advanced levels in the near future." ä¸å›½äººæ°‘有志气,有能力,一定è¦åœ¨ä¸è¿œçš„å°†æ¥ï¼Œèµ¶ä¸Šå’Œè¶…过世界先进水平. In this period there was a campaign to depict sports and athleticism as serving the revolution. Renmin tiyu chubanshe unknown
1984Embry 139439Northland Press 1984. First edition limited issue one of 50 copies signed by 23 of the 26 artists represented. Fine in fine publisher's slipcase. Full page color reproductions throughout. Brown leather backed cloth. Northland Press, 1984. First edition, limited issue, one of 50 copies, signed by 23 of the 26 artists represented. hardcover books
1985Embry 139438Northland Press 1985. First edition limited issue one of 50 copies signed by 25 of the 28 artists represented. Fine in fine publisher's slipcase. Full page color reproductions throughout. Brown leather backed cloth. Northland Press, 1985. First edition, limited issue, one of 50 copies, signed by 25 of the 28 artists represented. hardcover books
1859243247Madrid / Paris: Miguel Campo-Redondo / Lamourex 1859. 384p. texts printed on reasonably alkaline stock the complete magazine-year bound in original 11x7 inch black-papered boards and a quarter-calf dark-green spine titled and ruled gilt. All edges tinted aqua-green. El Correo marketed household wisdom exclusively in the Spanish language madly illustrated with selling-point fashion illustrations unwise fashion be it known: "waist not want not" the message. The case-binding is handleable with legible gilt cracked but still-holding hinges original endsheets unmarked except by foxing dust & small stains and a square textblock. It is however very edgeworn with terrific dings to the boards and damage to several plates. However ugly the book-qua-book most of the 20-odd hand-colored fullpage fashion prints are not only beautiful but exceptionally so that is the hand-tinting of them: we have seen perhaps a hundred casebound collections and the ones in this exemplar are amongst the very best in terms of the specialized colorwork that is called for in tinting steel engravings; commonly colors get brushed on too vividly; outlines are breached areas left blank. We count 27 touched-up plates of which 4 or 5 are partial treatments of a single furbelow the rest i.e. the wonderful ones showing usual small groupings of the wasp-waisted. At least twenty are bogglingly sensitive and successful though you will find a few flecks a few small stain-spots and a few seriously torn margins. Not only dresses but faces limbs backgrounds and landscapes are flawlessy touched up. In addition to these main-attraction plates there are numerous monochrome plates lace patterns and such. Complete copy with all faults and virtues. In addition to lovely handwork on costume and wearer the artists here have worked their magic on children animals backgrounds of mountains and buildings and foregrounds of flowers and carpets. We have admired these engraved and frequently hand-tinted fashion fantasies throughout our career most often encountered in British and American magazines Godey's Ladies Book being the most widely distributed. As here with El Correo Godey's and its worthy competitors used French artists engravers and watercolorists. These century-old mags were almost common in the late sixties while seventies & eighties saw near-extinction especially of the expertly-tinted. Miguel Campo-Redondo / Lamourex unknown books
51-3000Paris: Abel Goubaud and London: E. Weldon 1866-1870. 10 handcolored engravings and lithographs. Sheet size 26 x 18 to 29 x 22 cm. Mounted with hinges on support sheets.OCLC Number: 458884594Colas 2127; Lipperheide 4676 → Zb121. Paris: Abel Goubaud and London: E., Weldon, 1866-1870 unknown