Schiller, Ely [Ed.]MareMagnum
Jeudras
Serifìgrafia e acquerello Firma e titolo a matita. Cm 37x26 (Foglio 50x35). . . . . . .
Libreria Marini · ROMA, IT250,00 €
2 054 résultats
28x22 cm. 170 pages. Gilt hardcover with dust jacket. In good condition.
Serifìgrafia e acquerello Firma e titolo a matita. Cm 37x26 (Foglio 50x35). . . . . . .
This is a fine hardcover copy with a fine dust jacketr with no wear at all. SIGNED by the artist, Jim Dine, in ink on the half title-page, and briefly inscribed and dated, 2002. Otherwise completely clean. Essays by Elizabeth Carpenter and Joseph Ruzicka. Illustrated in color and black & white. 12" high X 10" wide, 254 pages. A fine signed copy. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
This is a very good hardcover copy in a very good dust jacket with almost no wear. Completely clean inside and out. Dust jacket not price-clipped. Stated first edition. This catalogue raisonne of Jim Dine's prints, continues the work of the first Jim Dine print catalogue raisonne, Jim Dine Prints: 1970- 1977, also published by Harper and Row (1977). Illustrated in color and black & white with 206 prints catalogued and illustrated. 11" high X 9" wide, 182 pages. This book will be securely packed and shipped with tracking.
8vo., First Edition, with very numerous illustrations in the text; black buckram, upper board blocked in gilt, gilt back, yellow top, patterned endpapers, a near fine copy.
CONTAINS TWO LITHOGRAPHS. 32.5x27.5 cm. XXXIII+108 pages. Hardcover in dust jacket. Spine slightly chafed at top and bottom edges. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Contains many color plates. 290x225mm. 327 pages. Hardcover. In good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
This is a very good softcover copy with almost no wear. Completely clean inside and just lightly soiled outside. Spine not creased. Signed and inscribed by the author in 1978. Illustrated throughout in black & white. Tall 8vo, 9" high X 6" wide, 76 pages. This book will be securely packed and shipped with tracking.
The catalogue raisonne. Hundreds of items thoroughly described, all illustrated in color and black & white. 4to. Publisher's cloth. Dustjacket. FINE AND BRIGHT.
An original signed woodcut by Arthur C. Danto, executed in 1947 while he was an undergraduate at Wayne State University (he graduated in 1948). In this Expressionist image we see Joseph looking downcast in a dark cell, sitting on a bench with his ankle chained to the floor. 11 1/2" x 8 1/2" (block), 18" x 13" (sheet). Signed (A. Danto), dated ('47), titled (Joseph in Prison), and justified (3/25) in pencil. Only SIX IMPRESSIONS WERE ACTUALLY PRINTED, as indicated by the "6" at lower right (and confirmed by Danto). Monogrammed in the block. This is an extremely fine and rich impression, printed by the artist himself, on fine, thick, brownish-gray laid paper. A few marginal restorations, otherwise in excellent condition. Danto went on to have a successful career as an printmaker during the 1950s. In the early 1960s he turned to the philosophy and criticism of art, the field in which he achieved great acclaim. His early prints, dating from the 1940s, are of the greatest rarity. Possibly a unique survival.
- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Estampe originale en couleur rehaussée à l'or, tirée sur papier vergé, signée en bas à droite de la planche. La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [ENGLISH DESCRIPTION ON DEMAND]
320X255mm. 10 black and white lithographs. Softcover. Cover slightly stained. Cover edges slightly bumped. Spine partly cracked. Page corners slightly bumped. Else in good condition.
25.5x25.5 cm. 91+179 pages. Gilt hardcover with dust jacket. As new. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
RARE book illustrated by Joseph Budko (1888-1940) - one of the greatest Jewish graphic artists, who started the revival of woodcut and one of the first great modern book illustrators. Includes FOUR ORIGINAL LITHOHRAPHS depicting Theodor Herzl, Marko Baruch, J.L.Perez, and Baruch Spinoza. 295x245mm. 114 pages. Illustrated board Hardcover with gilt cloth spine. Cover yellowing, age-stained, slightly stained and curved. Cover corners and edges bumped and peeling. Spine partly detached from binding (hinges partly cracked). Spine upper edge tattered, bottom edge missing. Ink writing on front whitepage upper edge. Inner cover and pages age-stained to various degrees. Some pages upper edge water-stained - no damage to text or plates. Pages yellowing, wavy and rough-cut (as published). [SUMMARY]: This extremely rare book with four original lithographs by one of the greatest modern Jewish artists is otherwise in good condition.
New English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). B/w ills. 224 p. Bibliography on Caucasus studies. Kafkasya bibliyografyasi.
Paris, s.e., s.d. (vers 1750); 165/175 mm, 1 pp., une feuille. Planche provenant très certainement d'un livre de voyage du XVIIIème siècle. Bon état.
A clean, unmarked book with a tight binding. 9 1/2"w x 10 3/4"h. 224 pages. Exhibition catalog reproducing over 130 works on paper in full color.
Contains b&w plates. 28.5x21cm. Unpaginated (40 pages & 20 plates). Softcover. Cover slightly wrinkled. Else in good condition.Holzinger, Hans ( Druck)
A clean, unmarked book with a tight binding. 224 pages. 9 5/8"w x 10 7/8"h. Many color illustrations. "In this striking catalogue of the first major showing of Kandinsky's work for some years, over 130 works on paper are reproduced in full colour and shown in the context of Kandinsky's oeuvre as a whole." Introductory essay by Frank Whitford.
Folio. 113 Zeichnungen (zumeist in Bleistift, aber auch in Tusche und Buntstift) auf 25 Bll. montiert. Separates Titelblatt in rotem und schwarzem Filzstift. Lose in Papp-Umschlag unter Seidenhemdchen. Umfangreiches Album mit zahlreichen unbezeichneten Kopfstudien, meist in Bleistift. - Fred Nowak war über 30 Jahre als Buchdrucker tätig, zuletzt in der Österreichischen Nationalbank. Als Künstler überwiegend Autodidakt, schuf er im Laufe seines Lebens fast 1600 druckgraphische Blätter. Im Oktober 1973 wurde im Museum für Angewandte Kunst seine größte Ausstellung veranstaltet. - Mappe am Rücken lädiert; die Blätter in sehr gutem Zustand. Fuchs 3, K 127.
Collage on paper, signed and dated. 425 x 330 mm. Framed and glazed. Erró (born Guðmundur Guðmundsson), the "Roy Lichtenstein of Iceland", is a visual artist and painter best known for his painted pop-art collages of images from comic books and advertisements.
A clean, unmarked book with a tight binding. 131 pages. 9"w x 9 1/8"h. Orange paper cover, slightly soiled.
Two volumes in one, complete. XVI, 785 pp. Over 5,000 items described in detail. The best of all catalogues of ornament prints, and thus an extremely important bibliography of older illustrated books on the decorative arts. Thick 8vo. Publisher's cloth. LIKE NEW.
First edition, 4to, 209pp., coloured frontis., numerous illustrs., throughout, orig. cloth.
The album contains the frontispiece, one leaf with an ideogram, the colophon, one frame for kite, one leaf with title and two leaves with index engravings, the woodcut reproduction of Hokusai's famous view, 18 hand-painted sails on Japanese paper each in their black folder with the stylized design of the sail and the title. All the paintings are executed by master Kato Tatsusaburo, who has been painting and making kites for more than sixty years / Il portfolio contiene il frontespizio, una pagina con ideogramma, il colophon, una struttura in bambù per aquiloni, una pagina con titolo, due pagine con indice delle 18 forme di aquiloni, una riproduzione xilografica della famosa vista di Hokusai, 18 acquiloni dipinti a mano su carta giapponese, ciascuno nella sua cartella nera con impresso al piatto il disegno stilizzato dell'acquilone e il titolo. Tutti i dipinti sono stati eseguiti dal maestro Kato Tatsusaburo, che ha dipinto e realizzato aquiloni per oltre sessant'anni Original bordeaux cloth case with gold ideogram. Copy N. 10 / Cartella in tela bordeaux con ideogramma in oro impresso al piatto anteriore. Copia n. 10. Folio (cm 49,5 x 35,5). . . . . Edizione originale di 100 esemplari numerati (Original edition of 100 numbered copies). . Guarda il video
