2 032 résultats
54627Paris: self-published 1971. Quarto 27 × 26 cm. Original printed folder; four graphically designed single leaves with texts and designs by Marcelle Cahn Richard Orton Marcel Mariën and Raoul Hausmann among others as well as five folded posters with texts and images inter alia by William S. Burroughs Jefim Golyscheff and Marcel Janco mainly typographically designed and manufactured using printmaking techniques; and one vinyl record with recordings by Henri Chopin Bengt Emil Johnson Sten Hanson and Jacques Bekaert. Folder with signs of use; else good or better. Single issue of the rare avant-garde journal which Henri Chopin edited published and partly produced in his own home. Influenced by the Dadaists Chopin unlike the Lettrists was not only interested in pictorial poetry but above all in tonal poetry. Lettrism did not go far enough for him in terms of the dissolution of linguistic conventions and the use of new media. In 1958 he took over the editorship of the conventional poetry magazine "Cinquième Saison" in which he published early reflections on phonetic poetry. The last issue under this title contained a record and among other things the poet René Ghil's prophecy: "In 50 years the poet will be operating phonetic machines." Number 20/21 was then published under the new title "OU". This underlined the radical change in the journal which from then on resembled "multimedia compendia" or "poetic wonder bags" Marc Matter filled with loose leaves screen prints posters fanfolds relief images typographic collages sometimes even three-dimensional objects and regularly a record. In this way Dadaism Futurism Ultra-Lettrism Fluxus Concrete Poetry etc. were mixed together. Chopin consistently self-published the elaborate journal for ten years. He and his wife worked endlessly at home to put together the individual issues and sent them out all over the world. Cf. Marc Matter Revue OU Disque in: Fabrikzeitung no. 298 2014.<br /> <br /> One of 475 numbered copies; besides these 25 copies were published in three different deluxe versions.<br /> <br /> Cf. Archiv Sohm 256. unknown
1981022550Bloomfield Hills MI: Cranbrook Academy of Art Museum Publisher 1981. Wraps. Very Good. Illustrated wraps. 410 pp. Black and white photographs throughout. An exhaustive work issued to accompany a 1981 exhibit of a variety of Fluxus works. This book includes a history of Fluxus as told through original documents and publications includes Fluxus editions periodicals documents and documents performances. VERY GOOD condition. Minor toning and edgewear. Some bumping and curling to the corners. Cranbrook Academy of Art Museum, Publisher unknown
1994020393Honolulu: Folio 94 Publisher 1994. Wraps. Good. Bound in clear glassine covers with a plastic spine. Color artwork throughout. Second issue of this zine that is essentially an artist's book of sorts presenting limited editions of collage assemblage and other art by a variety of artists including the editors/publishers Maggie Yee and Brian Garvey. Most if not all of the art is of a limited edition of 200 and it appears possible that each issue may not have contained exactly the same art. GOOD condition. Some soiling and scuffing to the glassine. Sporadic minor foxing throughout with one page having a bit more. Folio 94, Publisher unknown
1994021081Honolulu: Folio 94 Publisher 1994. Wraps. Good. Bound in clear glassine covers with a plastic spine. Color artwork throughout. Fourth issue of this zine that is essentially an artist's book of sorts presenting limited editions of collage assemblage and other art by a variety of artists including the editors/publishers Maggie Yee and Brian Garvey. Most if not all of the art is of a limited edition of 200 and it appears possible that each issue may not have contained exactly the same art. GOOD condition. Some soiling and scuffing to the glassine. Sporadic minor foxing throughout with one page having a bit more. Folio 94, Publisher unknown
1994021944Honolulu: Folio 94 Publisher 1994. Wraps. Good. Bound in clear glassine covers with a plastic spine. Sample issue #4 of 10 issued. Color artwork throughout. Perhaps first issue of this zine that is essentially an artist's book of sorts presenting limited editions of collage assemblage and other art by a variety of artists including the editors/publishers Maggie Yee and Brian Garvey. Most if not all of the art is of a limited edition of 10 and it appears possible that each issue may not have contained exactly the same art. GOOD condition. Some soiling and scuffing to the glassine. Sporadic minor foxing throughout with one page having a bit more. Folio 94, Publisher unknown
2016TH1905945Mazzoleni London 2016. 1st Edition. HARDCOVER. Extra Large 4to. in black and white printed thick boards 136pp on stiff art paper colour plates etc. Text in English with Italian translation at rear __CONDITION : NEW unread and unmarked copy. Scarce. . __We always ship in PROTECTIVE CARD PARCELS Mazzoleni,, London hardcover
51-1405Paris: Chez Briasson David & Le Breton 1762-1767. 39.5 x 25.5 cm. 6 plates numbered I-VI and one page of letterpress description. Paris: Chez Briasson, David & Le Breton, 1762-1767. unknown
51-1407Paris: Chez Briasson David & Le Breton 1762-1767. 39.5 x 25.5 cm. 3 plates numbered I-III and one page of letterpress description. Paris: Chez Briasson, David & Le Breton, 1762-1767. unknown
16-2948San Francisco: Magic Theatre. 29 x 23 inches. Printer proof with 3 smaller poster and one large one.Interview with Wertheimer about the photograph on this poster:'How did you shoot the "Kiss"I was in the men's room on the floor above the stage area at the Mosque Theater in Richmond Virginia on June 30 of 1956. I got more or less sidetracked and then I turned around and said: “Where’s Elvis†Elvis had disappeared. I go down the stairs of the theater. I get down to the landing where the stage area is. You’ve now got 3000 kids mostly girls in there and the "Elvis Presley Show" is going on; except there’s no Elvis Presley around. I look down this long narrow passageway the light at the end of the tunnel. There’s a silhouette of two people at the far end and I say “Oh yes there’s Elvis with a girl his date for the day.†Do I interrupt them Do I squeeze off a frame or two from a distance or do I go closer in Well you start off becoming a human tripod because you don’t want to start using flash. It’s really quite dark. So then you decide well if I get closer and Elvis gets annoyed he might say “Al get out of here you’ve had it go back to New York don’t bother.†But if I don’t shoot it I can’t really consider myself a journalist. After all I came here to do the story and that’s part of the story. There’s a handrail on the left side. So I move up about five feet and they’re busy they’re intently involved with themselves. So I climb up on the handrail and I wrap my legs around these metal tubes and I’m now shooting over her shoulder into his face. I’m getting close-ups. Nobody’s paying any attention to me because when people are doing things that are more important to themselves than having their picture taken you usually get good pictures. It’s a simple formula. So now I’m not satisfied typically. I’m not satisfied with what I’m not satisfied with back lighting. I want front lighting. But the only way to get front lighting is to go beyond where they are. So I put on my best maintenance man voice and say “Excuse me coming through.†I squeeze past the two of them. Again they don’t pay attention to me because they’re like hypnotizing each other. I’m now set on the landing facing the two of them and I’m setting myself with the frame. It’s a fairly decent composition and I’m waiting for something to happen within my frame. She says to him: “Elvis I’ll betcha can’t kiss me†and she sticks out her tongue just a teeny bit. And he says “I’ll betcha I can†in a very masculine cool way. And he then approaches the kiss he’s got his tongue stuck out just a wee bit and he overshoots the mark. I didn’t realize that till I developed my film later on. He bent her nose you see a very romantic view. So now he backs off coolly and tries it a second time comes in for a perfect landing and that’s the end of that. That tenth of a second became history.' Provenance: Peter Howard Serendipity Books Berkeley. San Francisco: Magic Theatre. unknown
196911060702Ottawa: The Queen's Printer for Canada 1969. 1st Edition . Soft cover. As New. Comic Book. Standard format and size. Covers are newsprint. Color illustrated covers with color interior art. Does not note printing but I believe there was only one. Without price was given away. AS NEW. All corners pointed. Binding tight without stress creases and square. Without tears bumps creases or chips. Not marked in any way and very clean and bright. All comics carefully wrapped and sent boxed. <br/> <br/> The Queen's Printer for Canada paperback
51-1386Paris: Chez Briasson David & Le Breton 1762-1767. 395 x 255 mm. and larger. 27 Plates from the 3e 4e & 5e sections. Paris: Chez Briasson, David & Le Breton, 1762-1767. unknown
2012Q-160706524XImage Comics 2012-05-22. Paperback. New. In shrink wrap. Looks like an interesting title! Image Comics paperback
1918107391New York: National Arts Club 1918. Hardbound. Portfolio case is worn chipped and tattered. Contents generally VG with age toning. Cardboard portfolio with ties and tipped-on facsimile of woman's head. 50 leaves inside contents 46 of 47 called for images 1 duplicate image one uncalled-for image and reproduction of written text by Pennell. "This unique collection of drawings was contributed to the "American Artist's War Emergency Fund" by forty-seven American artists to be disposed of for the benefit of this fund." Second leaf is a lithograph of a handwritten brief essay on lithography by Joseph Pennell. 37th drawing in the portfolio is also by Pennell. This copy has two copies of a contribution by Henry Walker and lacks the contribution listed for Ben Foster. There is however an unlisted contribution by G.H. Buer that is printed on a smaller sized sheet than the rest. Those artists represented in this set include Hugo Ballin Cecilia Beaux Edwin Blashfield Ernest Blumenshein George De Forest Brush G.H. Buer Howard Russell Butler Ercole Cartotto Frederick S. Church B.West Clinedinest Colin Campbell Cooper E. Irving Couse Kenyon Cox Charles C. Curran Eliott Daingerfield Paul Dougherty Ben Foster - lacking Daniel Garber Charles Dana Gibson Philip Leslie Hale Childe Hassam Ernest Ipsen Francis C. Jones Hugh Bolton Jones Arthur I. Keller Paul King Ella Conde Lamb William H. Lippincott Will H. Low Clara Mac Chesney F. Luis Mora H. Siddons Mowbray Ivan G. Olinsky Violet Oakley Maxfield Parrish William Macgregor Paxton Henry W. Parton Joseph Pennell Edward H. Potthast William Ritschel Henry B. Snell Gardner Symons C.Y. Turner Douglas Volk Henry O. Walker 2 copies Harry W. Watrous J. Alden Weir and Irving R. Wiles. An extraordinarily rare item. National Arts Club hardcover
0428208088.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1333005709.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
199719386Quebec Canada: Musee Du Quebec 1997. First Edition. First Printing. Softcover. Fine/No Dust Jacket As Issued. Quebec Canada: Musee Du Quebec 1997. Softcover. Fine/None As Issued. First Edition/First Printing. 45 pages. Exhibition Catalog. One of the most beautiful books on contemporary ceramic art ever published. The first and only edition. Published in a small and limited print run as a softcover original only that sold out upon publication. The Exhibition Catalog is now rare. An austerely elegant production by the Musee du Quebec: Regular-sized volume format. Red softcovers with titles on the cover as issued. Art by Leopold Foulem Paul Mathieu and Richard Milette. Essay in French by ceramic expert/scholar Paul Bourassa. Printed on pristine-white glossy stock paper in Quebec Canada to the highest standards. Without DJ as issued. Published on the occasion of the landmark exhibition of the same name held at the Musee du Quebec in 1997. Presents the ceramic art of the reigning Canadian triumvirate: Leopold L. Foulem Paul Mathieu and Richard Milette. A movement unto themselves. They and their highly provocative and brilliant work are rightly seen as expressions of the singular unusual "queer" self in all its performative gestures: "Explores the concept of camp as manifested in the works of three important Canadian ceramic artists. Camp has been identified as a concept an aesthetic sensibility and a form of oppositional critique central to gay and lesbian culture. Camp has been variously understood to include elements of irony exaggeration excess humor sentimentality theatricality artifice parody and devotion; as a disputed field of appropriation and counter-appropriation; and of alternative signifying codes. Leopold L. Foulem Paul Mathieu and Richard Milette have made Camp and gay male culture a central part of their respective artistic practice. Their shared perception that they are outside of the artistic and social mainstream has helped drive them to create an aesthetically powerful and intellectually engaging body of work that is rooted in and critical of conventional art history ceramic history and contemporary culture" David Kaye. This intellectual baggage aside the pieces do speak for themselves: They are objects of beauty that will give enormous pleasure to anyone with an open mind and regardless of one's sexual identity orientation or preference. An absolute "must-have" title for Foulem/Mathieu/Milette collectors. This copy is very prominently and beautifully signed and inscribed in blue ink-pen on the title page by the artists: "Dear Martha Warmest regards Leopold Foulem Richard Milette. It is signed directly on the page itself not on a tipped-in page. The recipient Martha Schneider who is named is an authority in the art photography world and also a ceramic art expert. This title is now collectible. As far as we know this is the only such double-signed copy of the Exhibition Catalog available online and is in especially fine condition: Clean crisp and bright. A rare signed copy thus. Lavishly illustrated with color plates. Three of the finest ceramic artists of our time. A fine copy. . Musee Du Quebec paperback
1387161660.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
16-5877Parisiis: ex typographia Philippi-Dionysii Pierres MDCCLXXXIV-MDCCLXXXV 1784-1785. Engravings on 18th Century laid paper. 42 x 25cm and smaller. Belder 215. Hunt 673. Johnston 555. Nissen BBI 1190. Pritzel 5268. Stafleu/Cowan 4484. Cf. Buchheim "A bibliographical account of L'Héritier's 'Stirpes novae'" in: Huntia vol. 2 1965 pp. 29-58.Charles-Louis . Expertise by : Amaury BONNETAIN. Parisiis: ex typographia Philippi-Dionysii Pierres, MDCCLXXXIV-[MDCCLXXXV] [1784-1785 unknown
51-1401Paris: Chez Briasson David & Le Breton 1762-1767. 395 x 255 mm. 10 plates numbered I-X and one sheet of explanations. Paris: Chez Briasson, David & Le Breton, 1762-1767. unknown
51-1402Paris: Chez Briasson David & Le Breton 1762-1767. 395 x 255 mm. 6 plates numbered I-VI and one sheet of explanations. Paris: Chez Briasson, David & Le Breton, 1762-1767. unknown
0331156962.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
195111091102New York: D C Comics National Periodicals 1951. 1st Edition . Soft cover. Fine. Comic Book. Standard format and size. First Printing. 10 cent cover price. FINE. Binding firm and square. Corners fairly pointed with miniscule chip to bottom right. Without tears creases or bumps. But for rubbed spot near top left corner not marked in any way and very clean and bright with slight tanning to paper. All comics carefully wrapped and sent boxed. <br/> <br/> D C Comics (National Periodicals) paperback
197646418Princeton NJ: Art Museum Princeton University 1976. Very Good. Princeton NJ: Art Museum Princeton University 1976. First Edition. Slim oblong quarto; publisher's tan pictorial card wrappers; 75pp.; halftone illus. throughout. Very light shelf wear old ink manuscript price to upper cover else Very Good and sound. <br /> <br /> Signed by the artists Joseph Delaney and Lois Mailou Jones on pp. 25 and 41 respectively. The show featured works by seven Black contemporary artists including Romare Bearden Rex Goreleigh Jacob Lawrence Hughie Lee-Smith and Hale Woodruff as well as Delaney and Jones. Art Museum, Princeton University unknown
1402a5582Imports 2014-02-03. audioCD. Like New. 5x5x1. 10 CDs liners booklet and box all in Excellent unused condition. Imports unknown
1937111569México D.F.: Organo Central de la LEAR Liga de Escritores y Artistas Revolucionarios 1937. marginal chipping and normal browning detached covers. b/w and duo tone plates staple bound duo tone pict. wrps. Frente a Frente 1934-1937 was a periodical publication edited by Liga de Escritores y Artistas Revolucionarios LEAR a precursor to the Taller de Gráfica Popular. LEAR emerged in 1934 as the strongest of the four artist organizations that included: la Alianza de Trabajadores Misioneros el Sindicato de Pintores y Escritores and la Federación des Escritores y Artistas Proletarios. The numerous activities of LEAR during it's founding period under Leopoldo Méndez Luis Arenal include three early posters graphic work the first exhibits sponsored by the group; collective murals in the Mercado Albelardo Rodr-quez; participation in the American Writer's Congress New York 1935; they worked to resolve the dispute between Siqueiros and Rivera and founded the Taller-Escuela de la LEAR. Issues are noted for strong artistic illustrations. A portion of the magazine was involved with the Spanish Civil War. They sent a brigade to Spain and the graphics and text included are important historical materials. The issues of July and August of 1937 were almost exclusively devoted to the Spanish Civil War and the Congreso de Valencia. The artists and writers included were of international importance some included: Waldo Frank Nicolás Guillén James Ford Siqueiros Diego Rivera Pablo Neruda José Chavez Morado Octavio Paz Lola Ãlvarez Bravo Jorge Juan Crespo de la Serna Luis Arenal Francisco Dosamantes Ignacio Aguirre. Many interesting articles such as an article by Siqueiros on the work of Diego Rivera. The first number was issued Nov. 1 1934 the numeration changed in 1935 beginning again with number 1 the last number 13 was issued in agosto 1937. There was one special edition issued in enero of 1937. There were 16 issues in total. Issue 13 has a photomontage by Lola Ãlvarez Bravo. CONTENTS: Salud al heroico Madrid -- Hispanoamérica mártir -- 30 dÃas -- Protesta -- Las manifestaciones de arte catalán en México / por Enrique F Gual -- Carleton Beals y el "Club de Amigos" de Trotsky / por José Mancisidor -- La última sesión del "Club de Amigos" caricatura / por Arroyito -- Cuatro poemas -- El soldado Antonio Pujol pintor mexicano / por Fernando Gamboa -- El escritor Rubén Romero en LEAR -- Un reproche de Engels -- Notas bibliográficas / Emilio Abreu Gómez -- Los católicos y la rebelión militar en España / contestación de Leocadio Lobo -- Otra vez la dictadura en Venezuela / por Rómulo Betancourt -- SUR cuento / por MarÃa Luisa Vera -- Notas y actividades de la L.E.A.R. ONE OF THE MOST IMPORTANT PRODUCTIONS OF THE PERIOD. RARE/. Organo Central de la LEAR (Liga de Escritores y Artistas Revolucionarios) unknown
