204 résultats
1957900831957. KAMAKURA Yoshitarô & Kamakura Shizue artists. RYÛKYÛ BINGATA & RYÛKYÛ BINGATA Dai Nishû. Kyoto: Kyoto Shoin. Two huge cloth portfolios the earlier 62.5 x 49.5 cm issued in 1957 as a limited edition unspecified limitation of all 20 bingata stencil prints on lovely handmade paper but without the small stenciled plate originally laid onto the absent title page and without the portfolio cover. It was printed by Kamakura Yoshitaro 1898-1983 and his wife Shizue. The second portfolio is approximately the same size again with 20 large prints and a laid down plate on the title page as well as a stenciled cloth image laid down on the outside of the portfolio. It was printed in an edition of only 10 copies in 1967 created by Kamakura assisted in this effort by his daughter. Kamakura himself was a great scholar of Okinawan art and a master of the Okinawan technique of stencil printing related to katazome called bingata. As such he was recognized by the Japanese government as a Living National Treasure. These are undoubtedly his central masterpieces created when he was at the height of his powers in such tiny numbers as to render this complete series in our possession for all intents and purposes virtually unique. The prints are clean and quite amazing. The most important artifact of the folk art print movement we have ever handled. unknown books
195790083d<p>KAMAKURA Yoshitarô & Kamakura Shizue artists. <b>RYUKYU BINGATA & RYUKYU BINGATA Dai Nishû.</b> Kyoto: Kyoto Shoin. Two huge cloth portfolios the earlier 62.5 x 49.5 cm issued in 1957 as a limited edition unspecified limitation of all 20 bingata stencil prints on lovely handmade paper but without the small stenciled plate originally laid onto the absent title page and without the portfolio cover. It was printed by Kamakura Yoshitarô 1898-1983 and his wife Shizue. The second portfolio is approximately the same size again with 20 large prints and a laid down plate on the title page as well as a stenciled cloth image laid down on the outside of the portfolio. It was printed in an edition of only 10 copies in 1967 created by Kamakura assisted in this effort by his daughter.</p><p>Kamakura himself was a great scholar of Okinawan art and a master of the Okinawan technique of stencil printing related to katazome called bingata. As such he was recognized by the Japanese government as a Living National Treasure. These are undoubtedly his central masterpieces created when he was at the height of his powers in such tiny numbers as to render this complete series in our possession for all intents and purposes virtually unique. The prints are clean and quite amazing. The most important artifact of the folk art print movement we have ever handled.</p><p><br /></p> Kyoto Shoin books
P003771Prague: BedÅich KoÄà ca 1900. Quarto 28 à 20 cm. Original drawn pictorial wrappers with publisher's device to rear wrapper; XVI pp. 38 leaves of plates on heavy paper stock. Signed and inscribed by Anna Kuberová-Muchová sister of Alfons Mucha. Good or better; wrappers lightly discolored; binding somewhat shaken. Issued by the Association of Artists in Prague founded 1849 one of the oldest Czech artists' organizations this lavishly printed catalog was one of the earliest attempts to introduce Czech viewers to Russian artists such as Makovsky Nesterov Repin Shishkin and many others. With a preface by Jaroslav Kamper. Signed and inscribed in 1926 by Anna Kuberová-Muchová the sister of Alfons Mucha the famous Czech Jugendstil painter and graphic artist. KVK OCLC show only four copies outside the Czech Republic. unknown books
1975175260Shanxi renmin chubanshe 1975. 21x30 inch poster very good first printing. Depicts a woman who has paused her tractor to receive a letter delivered by a postwoman on motorcycle with the letter being opened for her as excited co-workers look on. Reflects the government's stated commitment at the time to bring more workers farmers and women into higher education. Might make a nice gift for someone who has been admitted to college or grad school. Shanxi renmin chubanshe unknown books
1993364021993. Softbound. VG. Blue printed wraps. 24 pp. 3 bw 6 color plates. Lengthy essay by Kathleen Slavin presented in English and Spanish. Also includes a biographical chronology selected one-man exhibitions selected collections and a listing of the 32 works presented in the exhibition. Uncommon. paperback books
19877297New York: Associated American Artists 1987. Softbound. VG slight scuffing on covers. BW illus. stapled wraps. 16 pp. 21 bw plates. Issued in conjunction with a 1987 exhibition featuring these selections from American artist Rockwell Kent 1882-1971. Catalogue lists 104 works all of which are priced. A terrific reference. Brief introductory essay by Robert Conway. Associated American Artists unknown books
1987TB28844New York: Associated American Artists 1987. Fine in heavy printed paper wraps over a double stapled binding. An octavo measuring 9 by 6 inches with a prior owner's bookplate on the verso of the front panel. Without a dust jacket. Unpaginated but containing 16 pages listing 104 paintings and prints with prices and a time-line of Kent's life. Associated American Artists paperback books
194566647New York: American Artists Group. Very Good. 1945. Hardcover. 6.25x4.5 inches. Blue cloth spine with thick pictorial boards. The book contains several black and white illustrations by Kent. American Artists Group Monograph Number 2. Covers are slightly chipped but overall this is a nice little copy. . American Artists Group hardcover books
198931941989. Softbound. VG. Blue wraps. 32 pp. 4 color 23 bw plates. Lists 23 works 9 reproductions by Diebenkorn 23 works 7 reproductions by Dine and 23 works 7 reproductions by Francis. Each artist given a brief biography. unknown books
WALTER-FILM000136No binding. Very Good. Fine Art Print Vintage original 11 x 14"" 28 x 35 cm. title lobby card USA. Dolores del Rio James A. Marcus Sophia Ortiga LeRoy Mason Rita Carewe dir: Edwin Carewe; United Artists. With the advent of sound United Artists added a music and effects track and advertised this as a big sound production. Filmed in Chatsworth CA which sufficed for the needed mountain settings it was a story of gypsy life based on the book The Bear Tamer's Daughter by Konrad Bercovici. Wild girl Rascha swears revenge on her bear taming father's enemy Jorga who has disgraced her honor by cutting off her braids. Of course this leads to hot passionate love making. Jorga kidnaps her she falls in love with him and helps him escape the wrath of her father. Wonderful image of del Río as the hot-blooded gypsy girl Rascha set against early Deco graphics. There are scattered light marginal damp stains NEAR FINE. unknown books
2001181508Amon Carter Museum 2001-01-01. Paperback. Very Good. 2001 First Edition. Clean has a good binding the pages are crisp and free of markings/notations. lz Amon Carter Museum paperback books
1965101717New York New York: Associated American Artists 1965. Softbound. VG light rubbing to corners. back cover scuffed. bright orange illustrated wraps. 12 pp. 15 bw reproductions. Introduction by Sylvan Cole. Lists 61 pieces. Associated American Artists unknown books
1969110361New York NY: Associated American Artists 1969. Softcover. VG As new. Tan stapled wraps; Unpaginated 32 pp.; 100 bw figures. 100 works for sale listed with annotations; Subjects include Rembrandt and his family Old and New Testament subjects landscapes and others. Associated American Artists unknown books
200121758Lincoln: University of Nebraska Press. Near Fine in Near Fine dust jacket. 2001. Hardcover. 0803213182 . First edition. Gift inscription on front free endpaper else fine in an about fine dust jacket. . University of Nebraska Press hardcover books
184229653Paris: Marchant 1842. Two volumes bound in one. Quarto. Full gilt-ruled dark green morocco with raised bands on spine in blindstamped compartments titling gilt inner dentelles gilt dark green endpapers with doublure pattern.<br/><br/>Each volume consists of 3 preliminary leaves plus 40 full-page plates and 162 pp. of text for a total of 80 fine lithographic portraits of dancers singers and actors in role portraits finely-printed on china paper and laid down to mounts.<br/><br/>With biographical essays on each subject including:<br/><br/>Dancers Perrot Elssler Taglioni Thillon Leroux and Grisi<br/><br/>Singers Deburau Duprez Fargueil Aine Levasseur Rubini Persiani Prevost Damoreau Lafont Lablache Grisi Tamburini Klein singer and actor Stolz Thillon Chollet Roger Mario and Dorus-Gras<br/><br/>Actors Rachel M. Melingue Plessy Mme. Melingue Achard Doze Odry Lepeintre Jeune Dupont Boutin Flore Georges Joanny Albert Vertpre Monrose Bocage Firmin Saint-Ernest Mars Menjaud Sauvage Bardou Beauvallet Alcide-Tousez Mme. Volnys Ferville Mr. Volnys Guillemin Gauthier Arnal Clarisse Chilly Moessard Brunet Albert Provost Brohan Anais Vernet Desmousseaux Dorval Regnier Mante Julienne Lepeintre Aine Dejazet Numa Samson Sainville Ligier Colon Leplus Raucourt Bouffe and Lemaitre <br/><br/>The biographical articles are each 4 or 6 pages in length; the lithographs are quite finely-drawn. A third volume was planned and at least 18 plates appeared but the volume was never completed.<br/><br/>Binding slightly worn rubbed and bumped. Minor wear; some foxing to mounts heavier to some leaves; some leaves slightly loose including title to Book I; some signatures loose; some browning to Book II. Most plates to Book I with tissue guards. <br/><br/>The illustrative plates are in very good condition overall. A significant contribution to the iconography of the period offering important evidence of contemporary performers and theatrical costume. Marchant unknown books
19952338Los Angeles: Artists Rights Foundation. Near Fine. 1995. First Edition. Oversize Wraps. NOISBN . traces of edgewear some small indentations on front cover. Transcripts of sessions of this two-day symposium April 27-28 1995 during which various prominent film artists movie executives business community leaders scholars and lawmakers participated in panels presentations open discussions and demonstrations of new technology designed to comprehensively examine the many perspectives of the complex issue of artists rights and film art protection. Participants included James Cameron the luncheon speaker on the first day; there is a 16-page transcript of his remarks Allen Daviau Martha Coolidge Nicholas Meyer and Jack Valenti. Topics discussed included "Truth and the Consequences of Alteration" "Our Digital Future" and "Responsibilities & Rights of Copyright Holders Artists and Technology Companies." Now that Our Digital Future has arrived in force this provides an interesting historical perspective on the then-pending revolution. . Artists Rights Foundation paperback books
19871010051987. Softbound. VG. Printed illustrated wraps. 12 pp. 25 small bw illustrations. This fascinating catalogue examines and offers for sale a multitude of prints all having the common theme of depicting various modes of locomotion of transportation. Many of the better known American artists are represented and prices are given. These works are either etchings or lithographs. A wonderful reference on a seldom-examined topic. Some of the artists represented include Charles Sheeler Rockwell Kent Otto Kuhler Lyonel Feininger Clare Leighton many others. 116 works are included in the exhibition. unknown books
1990W3016New York: Alfred A. Knopf 1990. Dust jacket price-clipped. A Christmas gift inscription by the author on the title-page. Depicts the life and work of the photographer Evelyn Cameron. A beautiful copy. Inscribed By the Author. First Edition. Cloth. Near Fine/Near Fine. Illus. by Evelyn Cameron. 4to - over 9¾" - 12" tall. Trade. Alfred A. Knopf Hardcover books
199383671993. Softcover. VG. White wraps. 24 pp. 2 bw photos 8 color plates. Includes a two-page introduction by Lisa Hagani the plates with quotes by the artist a 3-page professional chronology museum collections and an exhibition checklist of 25 works. unknown books
15504234<p>Rome: Antonio Lafreri 1550. </p><p>Price: $3750.00 </p><p>Single sheet engraving. 400 x 288 mm. plate; 431 x 318 mm. sheet </p><p>First state. With Lafreri's excudit: "Ant. LafrerI FormIs Romae MDL" at lower right. Watermark "Crossbow with arrow in a circle" similar to Briquet 759. A very good impression with light surface wear and light marginal soiling. Three early stamps on the verso two of them from the Kupferstichkabinet Berlin Lugt 1606 the second of which identifies the print as a duplicate Lugt 2482. The third stamp Lugt 1672 is that of the collector Wilhelm von Lepel.</p><p>An iconic image of the statue known as Pasquino by far the most famous of Rome's statue parlanti talking statues. The statue was discovered in 1501 in the Parione district of Rome. Cardinal Oliviero Carafa "the embodiment of humanist ideals centering on the revival of antiquity"Reynolds erected the statue next to his palace near Piazza Navona on the site of today's Palazzo Braschi where it stands to this day. As early as 1501 satirical poems in Latin and Italian variously celebrating or criticizing the pope clergy and nobility or lampooning private individuals were affixed to the statue. By 1508 the statue had become the focus of a yearly celebration held on St. Mark's Day during which the statue was dressed as a Roman deity or other mythological figure and anonymous writers attached to it poems written in the "voice" of the statue. In 1511 Pasquino was dressed as Grief mourning the death of Cardinal Carafa. In 1549 the year before this print was published Pasquino famously opined on the death of Pope Paul III: 'Here was buried a certain Paul/ a fraud a fox thief murderer;/ Here famous in the mouth of Pasquino/ There suffering in the mouth of the devil."<br /><br />The artist responsible for this print has included a number of pasquinades in Latin and Italian shown on bits of paper attached to the walls of Carafa's palace. The ground in front of the statue is strewn with props a reference to the costumes worn by Pasquino during the St. Mark's Day celebration. In the distance are two pairs of men the first standing in the piazza and the second strolling towards the statue. Carafa's arms are visible in the shadow on the statue's base.<br /><br />Lafreri's print is a close copy of one published in 1542 by Antonio Salamanca Lafreri's rival and eventual business partner. The identity of the artist is unknown. Among those to whom the plate has been attributed are Enea Vico and Nicolas Beatrizet.<br /><br />The sculpture comprises two figures believed to be either Menelaus cradling the dead Patroclus or Ajax holding the dead Achilles.<br /><br />The primary inscription is a sonetto caudato.<br /><br />Io non son come paio un Babbuino <br />stroppiato senza piedi et senza mani <br />Nemen con glialtri membri sconci et strani <br />La simmia son di Niccolo Zoppino. <br />Ma son quel famosissimo Pasquino <br />Che tremar faccio i Signor piu soprani<br />et stupir forastieri et Paesani<br />quando compango in volgare o in Latino.<br />La mia persona è fatta in tal maniera <br />Per i colpi e hor questo hor quel in accocca <br />Per ch'io dico i lor falli a buona cera. <br />Ma infin ch'io ha l'usata lingua in bocca <br />Non ne fo stima anchor che 'l resto pera <br />et sempre cantaro Zara a chi tocca <br />Che se la gente sciocca <br />Non si vuol rimaner de i falli suoi <br />Chi terrà me' che no 'l ridica poi.<br /><br />I am not as I seem a Babbuino<br />crippled without hands or feet <br />Nor with obscene and strange exotic parts <br />am I the Ape of Nicolò Zoppino<br />But I am that most famous Pasquino <br />who makes the most prominent men shiver. <br />and astonishes the out-of-towners and my fellow citizens<br />when I compose in vernacular or in Latin.<br />My persona was shaped in this way: <br />by the blows I take from here and from there <br />because I reveal their sins<br />But as long as I have the use of the tongue in my mouth<br />I do not care even if the rest of my body perishes <br />and I will continue to sing whatever happens <br />and the people who are offended must deal with it. <br />Because if stupid people do not want to keep their sins to themselves<br />Who is going to stop me from telling them<br /><br />The one that was sure to attract the most attention reads:<br /><br />Pasquin tu fuste et sarai semper un pazo<br />Ti sai in ogni forma trasformate<br />Se ti voi alle donne grato fare<br />Per che non ti trasformi int' Vn Ca<br /><br />Pasquino you always were and always will be an idiot.<br />You know how to transform yourself into any form<br />If you want to please women<br />Why don't you turn yourself into a dck<br /><br />Pasquino: Witness to a Rivalry Prelude to a Partnership:<br /><br />The engraving of Rome's talking statue published in 1550 bears witness to the rivalry between the two leading Roman print publishers of the mid-16th c. Antonio Salamanca 1479-1562 and Antonio Lafreri 1512-1577 and to the vast publishing phenomenon that came to be known as the "Speculum Romanae Magnificentiae" The Mirror of Roman Magnificence". <br /><br />In the years following the sack of 1527 the Spanish emigree Antonio Salamanca began producing engravings of Roman subjects with regularity prior to the sack such prints were few and appeared sporadically. In the 1540s another emigree printer the Frenchman Antonio Lafreri Antoine Lafréry began a rival enterprise copying many of Salamanca's engravings. The Pasquino an image that Lafreri lifted from Salamanca dates to this period.<br /><br />In 1553 the two competing Roman publishers entered into a contractual alliance for twelve years "with the explicit purpose of printing and selling copperplate prints of ancient and modern subjects… When the contractual agreement between Salamanca and Lafreri was established in 1553 the underlying principle of the "Speculum" was in place: it was to be a corpus of documentary prints of ancient and modern Roman subjects mainly in folio."Parshall<br /><br />Lafreri's and Salamanca's engravings illustrating the ancient and modern marvels of Rome tombs temples palaces baths statuary obelisks columns inscriptions frescoes etc. were purchased by tourists as souvenirs studied by antiquarians used as models by artists and architects and circulated as virtual visits for armchair travelers beyond Rome. By the late 1570s collectors could also purchase an engraved title page while selecting prints for their own Speculum collections. As a result Lafreri's customers or those of his heirs Salamanca had died in 1562 and Parshall suggests that the title was only in use after Lafreri's death in 1577 collected images to suit their own needs or taste. After the death of Lafreri two-thirds of the existing copper plates went to his heirs and another third was sold to other publishers. These new owners continued to print the existing images while still producing new prints.<br /><br />"Print collecting in the Renaissance is not very well understood mainly because prints were numerous comparatively inexpensive and therefore rarely inventoried. They are less likely than other sorts of objects to come down to us with a clear indication of their original setting. Nevertheless the evidence of a few large collections from the sixteenth century does suggest some consistent patterns most notably that prints accumulated in substantial numbers tended to be compiled in albums where they were organized by subject- matter and scale…. There is still much to learn about how such collecting practices evolved and the development of a market to serve them."Parshall "Antonio Lafreri's Speculum Romanae Magnificentiae" Print Quarterly March 2006 Vol. 23 No. 1 pp. 3-28.</p><p>References: Lafreri-Index Z.249. Marigliani "Lo Splendore di Roma nell'Arte incisoria del Cinquecento" Edizioni Tipografia Marina 2016 V.56; Rubach "Ant. Lafreri Formis Romae: Der Verleger Antonio Lafreri und seine Druckgraphickproduktion" 2016 no. 337; Hülsen Speculum 1921 Nr. 71a; Alberti L'Indice di Antonio Lafreri no. 84.</p> Antonio Lafreri, books
1869WRCLIT41533London: James Blackwood 1869. viii2764pp. Canary yellow cloth stamped in blind and gilt. Spine and edges rather faded cloth a trifle hand soiled head and toe of spine frayed early ink inscription on endsheet bookplate and later library release stamp occasional light marginal discolorations but a sound copy. First edition of this anonymously compiled biographical dictionary including important contemporary sketches of Rossetti Holman Hunt Millais Brown et al. An important and possibly uncommon book. James Blackwood hardcover books
WALTER-FILM000115No binding. Very Good. Fine Art Print Vintage original 11 x 14"" 28 x 35 cm. lobby card USA. Lillian Gish Dorothy Gish Joseph Shildkraut Frank Losee Katherine Emmet Lucille La Verne Frank Lublia Creighton Hale Monte Blue dir: D. W. Griffith; United Artists. The classic epic version of the d'Ennery/Cormon novel"" The Two Orphans"" with screenplay by director Griffith and the perfect vehicle for the great Gish sisters. They are seen here during their characters' more fortunate earlier period. Griffith wove both history of the French Revolution period and political commentary on the state of the world post World War I into his screenplay. In this film two sisters travel to Paris to see if the one sister can be cured of her blindness; while there they are separated the seeing one abducted and the other sister becomes lost as the French Revolution rages around them. Stunning hand color and the most desirable card showing the sisters. There is one tiny chip at lower left and small repairs to the other three blank corners and some minor creasing NEAR FINE. unknown books
188028460France Italy Switzerland and Britain circa 1880-1925 1880. Overall condition is very good; sketchbooks with ordinary wear; foxing to just some of the works on watercolor board; a few photographs with edge wear; a large and well-rounded archive fully deserving of proper preservation and study with much to say about the intersections of Victorian landscape art early photography and the working methods and commercial life of husband and wife professional artists. A detailed description of the collection is available via pdf on our website at www.brickrow.com on the catalogues page. The Stevens were successful artists in Europe and Britain between the later stages of the Victorian era and the early 20th century. They held regular exhibitions of their collaborative landscape studies of the French Riviera Swiss Alps Italian lakes and English countryside. They maintained galleries at Cannes and London and were patronized by European royalty and aristocracy including Tsar Nicholas II and the Empress of Russia. The archive includes a portfolio of 20 watercolor studies and 15 pencil sketches; eight sketchbooks with approximately 100 watercolor or pencil studies; two albums of newspaper exhibition reviews; a file of testimonials documents and letters concerning Russian purchases; printed invitation cards gallery and price references; lists of important patrons; approximately 280 photographs taken by the Stevens mostly silver gelatin prints; and three albumen photographs signed and captioned on the verso "Frank Mason Good." A fine archive that documents the artists' working methods with field sketches watercolor studies and the use of photography; as well the archive documents their commercial and financial success through correspondence exhibition announcements and two albums of fastidiously compiled press clippings. <br/><br/> [France, Italy, Switzerland and Britain, circa 1880-1925] unknown books
197816833San Francisco 1978. Silkscreen in three colors 26" x 20" ca 66cm x 51cm. Edition unspecified; signed and dated in pencil upper right. Very fine copy free of wear or soil. Magnificent three-color screenprint by master Chicano printmaker Rupert Garcia announcing an exhibition of works in honor of Frida Kahlo at the Galeria de la Raza in San Francisco. Garcia b. 1941 is one of California's best-known and most influential artist-activists; he was a founding member of the Galeria de la Raza in 1970. unknown books
193818999Berlin: Nationalsozialistiche Volkswohlfahrt 1938. Lithograph printed in black and brown on cream stock 42cm X 30cm ca.16.5" X 11.75". Folded vertically at center with marginal toning to extremities and a few small corner creases; Near Fine. Original advertising poster for the Winterhilfswerk or WHW a social relief program designed to provide food clothing coal and other items to needy German citizens during the winter months October-March. The program was instituted under the government of Heinrich Bruning in 1931 though Hitler would ultimately claim sole credit for the idea. Depending on whether an individual was single or married and how many children he or she had recipients were entitled to a weekly/monthly stipend and rations of food and coal to ensure they and their families would neither starve nor freeze. Indeed the program's motto was "None shall starve or freeze." Under Nazi rule all German citizens were required to give to the program - one of Hitler's ingenious ways of uniting the nation. Large donations to the fund were also a means of establishing ones loyalty to the Nazi Party without the commitment of joining it. <br/><br/>The present example explains how to donate to the fund and provides a detailed chart showing exactly how much individual or family recipients could benefit from the program. An attractive survival showing the dynamics of German social welfare. [Nationalsozialistiche Volkswohlfahrt] unknown books
