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18-6770Westport CT: Westport Weston Arts Council 1985. . Exhibition catalogue. 8vo. 18 pp. Soft stapled white and black and white photographic wraps. Good with marginal soiling along left of front wrap. Black and white photographic plates. Includes text by Burt Chernow. Catalogue created on occasion of exhibition “Westport A Town in Connecticut: Larry Silver Photographer†held in 1985 at the Westport Weston Arts Council in Westport Connecticut. First edition. Westport, CT: Westport Weston Arts Council, 1985. paperback
2022203929Veurne Belguim: Hannibal 2022. Hardcover. Dutch Language. As new. Quarto. Hardcover. Quarter bound with orange cloth in pictorial boards. no jacket likely as issued. 255 pages : illustrations chiefly color facsimiles portraits ; 30 cm. "According to the medieval theologians belief is a matter of bitter seriousness. Humor and virtue must be incompatible because laughter is uncontrollable and escapes the control of reason. Smiling modestly so much so. But laughing grinning and grimacing: that must be the case. are the devil's playground - as pernicious as other uncontrollable urges such as physical love or the gambler's addiction. That is the domain of the farmer or the fool. In the late In the Middle Ages every true city dweller knows that the difference between peasants and fools is small. Peasants are silly primitive fond of parties carousing drinking and sex. should not laugh too loudly. Only during silly children's parties or Shrove Tuesday celebrations are urban revelers allowed to show their undersides. the farmer also escapes the fool from the existing order. He holds up a mirror to the self-proclaimed wise man because 'while laughing the fool tells the truth' even though he is hidden between piss and shit sex and snot. That is precisely why Erasmus does not speak in his Praise of Folly but leaves the honor to Folly a broad back behind which the wise man can hide when he denounces social problems. This is how laughter changes the world. In this context fool and irony become important motifs in medieval art especially in the Netherlands. This original art book is illustrated with dozens of masterpieces by Flemish masters from worldwide collections."--. Hannibal hardcover
18476404-nnew. unknown
18476404like new. unknown
19801236840PN. New. 1980. Reprint Edition. Soft Cover. Date is copyright date; this is a later reprint edition . PN paperback
20241817801Peeters Publishers 2024. 1st. paperback. New. 0x0x0. Peeters Publishers paperback
9042953594.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1990477741Greater Mercury Comics. Very Good. 1990. Soft Cover. M46 -2 . Greater Mercury Comics paperback
1990477198Greater Mercury Comics. Good. 1990. Soft Cover. O218 . Greater Mercury Comics paperback
20131386878NASA. New. 2013. Soft Cover. Reprint Edition . NASA paperback
1982203137.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
ria9781784917289_inpPaperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; This book addresses the proto-history and the roots of the Qumran community and of the Dead Sea Scrolls in the light of contemporary scholarship in Alexandria Egypt. paperback
1784917281.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
20171508151Archaeopress Publishing 2017. 1st. paperback. New. 107x19x153. Archaeopress Publishing paperback
DADAX1784917281Archaeopress Archaeology 2018-03-08. paperback. New. 6.70x1.20x9.60. Buy with confidence. Excellent Customer Service & Return policy. Archaeopress Archaeology paperback
2018__1784917281Archaeopress Archaeology 2018. Paperback. New. 585 pages. 9.25x6.75x1.25 inches. Archaeopress Archaeology paperback
3791319329.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
2010331343New York: Guggenheim Museum 2010. hardcover. fine/near fine. Illustrated in b/w and color. 189 pages. Square 4to ecru cloth with black lettering pictorial d.w. New York: Guggenheim Museum Publications 2010. A fine copy in a near fine dust wrapper.<br/> <br/> Guggenheim Museum unknown
2010165188New York: The Solomon R. Guggenheim Museum Foundation 2010. Softcover. G Some staining and wear to cover particularly at corners. Some pencil notes. Previous owner's label. Some waving to top of last quarter of text block. Contents otherwise clean and tight. Excellent reading copy. Cream wraps with color illus and black lettering. 189 pp. 68 color plates 51 BW & color illus. Issued in conjunction with several 2010-2011 exhibitions on the subject. With four essays: A More Durable Self / Kenneth E. Silver -- New Wine in Old Bottles: French Art Following World War I / James D. Herbert -- Bodies from the Crypt and Other Tales of Italian Sculpture between the World Wars / Emily Braun -- Germany's Classical Turn from the Great Disorder to a Kingdom of the Dead / Jeanne Anne Nugent. Very visual. The Solomon R. Guggenheim Museum Foundation paperback
2023206270Greenwich CT: Bruce Museum 2023. Hardcover. As new. Quarto. Hardcover. Illustrated boards. No jacket as issued. 132 pages : illustrations chiefly color map ; 32 cm. "For three decades Connecticut was a true international center of innovation in the arts. Although turn-of-the-century landscape painting has been justly celebrated at the Bruce and elsewhere the significance of the state’s place in the history of 20th century modernism has gone largely unnoticed. Coinciding with the arrival from Paris in Roxbury of sculptor Alexander Calder and his wife Louisa in 1933 and the political climate in Europe transplanted Parisian artists transformed Connecticut into a Surrealist capital-in-exile. Painter Yves Tanguy settled in Woodbury with his American wife painter Kay Sage whose cousin sculptor David Hare lived near the Calders in Roxbury while Rose and André Masson moved to New Preston. Several significant artists of the Magic Realist mode an important movement of the interwar years also lived and worked in Connecticut: Peter Blume and his wife in Sherman and Pavel Tchelitchew and Paul Cadmus in Weston. Recently arrived French sculptor Louise Bourgeois and her American husband art historian Robert Goldwater bought a place in Easton in 1941. The great Armenian-born New-York-based painter Arshile Gorky eventually moved to Roxbury. Just as the Parisian avant-garde and its American devotees were drawn to Connecticut so were major members of the vanguard wing of German art. Artists architects and designers who had studied and taught at the Bauhaus found their way to America after Hitler closed the school in 1933 including painting professor Josef Albers and his wife weaver Annie Albers. They moved to Connecticut in 1950 after Josef was made chair of the design department at the Yale School of Art. Bauhaus architect and designer Marcel Breuer began teaching at Harvard in 1937. Among the students who would come under his influence were Philip Johnson Landis Gores John Johansen and Eliot Noyes. Collectively they would come to be known as the Harvard Five. In fact they might more accurately be called the New Canaan Five since all of them would go on to build acclaimed modernist houses in New Canaan. Most notable of these is Philip Johnson’s Glass House of 1949. Residing in the state were the legions of art world “movers and shakers†who amassed modernist collections and influenced the institutions with which they were connected. Artist and collector Katherine Dreier along with Marcel Duchamp and Man Ray co-founded the pioneering organization for the exhibition of contemporary art the Société Anonyme whose holdings would eventually be split between MoMA and Yale. During the last decade of his life photographer Walker Evans taught at the Yale School of Art from which in 1960 sculptor Barbara Chase-Riboud became the first African American woman to receive the MFA. In just over a year 1933–34 A. Everett “Chick†Austin trailblazing director of the Wadsworth Atheneum co-sponsored choreographer George Balanchine’s immigration to the U.S. organized Picasso’s first retrospective in America and staged the world premiere of the opera Four Saints in Three Acts with book by Gertrude Stein and music by Virgil Thomson and sets and costumes by Florine Stettheimer. The art collection in Farmington of James Thrall Soby--who in 1931 had worked with the Wadsworth to organize the first museum exhibition of Surrealism--included masterpieces by Picasso De Chirico Balthus and Calder among many others; it became a pilgrimage site for all those interested in contemporary art in the 1930s and 1940s. Soon after Burton and Emily Tremaine began to assemble the Miller Company Collection of Abstract Art in Meriden; pacesetting dealer Edith Halpert resident of Newtown created an essential link between contemporary art and American folk art; and dealer of Surrealist art Julien Levy resided in Bridgewater. The exhibition concludes with a selection of works by major figures including Robert Motherwell Helen Frankenthaler Sol LeWitt Cleve Gray and Jasper Johns who helped maintain Connecticut as an important site of contemporary art making." -- Bruce Museum website. Bruce Museum hardcover
0847818209New. paperback. New. Satisfaction Guaranteed or your money back. paperback
198900279777Princeton N. J.: Princeton N. J.: Princeton University Press 1989 1989 Pictorial Cover/soft. Fine. First Edition. Art. 4to - over 9¾" - 12" tall. .Avant-guard Paris WW 1 Many full page broadsides. bibliography. 4to - over 9¾" - 12" tall. First Edition. Pictorial Cover/soft. Fine. Princeton, N. J.: Princeton University Press, 1989 paperback
1989144332London: Thames and Hudson 1989. First Edition. Hardcover. Fine/Fine. London Thames and Hudson 1989. Quarto xxiv 504 pages 'with 251 illustrations 8 in colour'. Papered boards; a fine copy with the fine dustwrapper. 'Kenneth Silver's powerful study demonstrates how deeply involved the members of the Parisian avant-garde were in French society and its dominant values and relationships' from the dustwrapper. Thames and Hudson hardcover
1989210859Princeton NJ: Princeton University Press 1989. Cloth xxiv 504 pages 8 pages of plates illustrations some colour; 26 cm. Firm binding clean inside copy. Dust jacket protected in a mylar cover. An excellent book on the "return to order" in the visual arts in France in the wake of World War I. Highly recommended. "Analyzing the all-encompassing changes in modern art between the outbreak of World War I and the Paris Exposition des Arts Decoratifs of 1925 Kenneth Silver's study demonstrates how deeply involved the members of the Parisian avant-garde were in French society and its dominant values and relationships. The book examines a crucial episode in the story of modern art and delineates the many ways in which art is interwoven with politics and propaganda with fashion and cultural mythology and with public policy and personal ambition. The author reinterprets some of the masterpieces of modern art--from Matisse and Picasso to Leger and Le Corbusier--and shows how their creators refer consciously or not to the cataclysms of the Great War and its aftermath." - Publisher. 1st. Hardcover. Fine/Fine. 4to. Collectible. Princeton University Press Hardcover
1989467328Princeton University Press 1989. First Edition. Hardcover. Fine cloth copy in a near-fine very slightly edge- and dust-dulled dust-wrapper. Remains particularly well-preserved overall; tight bright clean and strong. Physical description; 504 pages ill. some colour ; 26 cm. Notes; Includes bibliographical references p. –489. Subjects; Nationalism and art. France. Paris. Society. Aesthetics. French art. Cultural history. Politics. European art. Princeton University Press hardcover
