Steinberg, SaulBiblio.com
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1992353211New York: Knopf 1992. 1st. Hardcover. Very Good/Very Good. Hardcover 208 pages. Introduction by Arthur C. Danto. 196 color and b/w illustrations 56 of which first appeared in The New Yorker. Record # 353211 Knopf hardcover
0728701898.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1987511720New York: The Pace Gallery 1987. Softcover. Very Good. Exhibition catalog. Essay by Adam Gopnik. Slim oblong quarto. Heavily illustrated in color. French-folded wrappers. Rear cover a bit soiled covers and text very slightly wrinkled very good. Laid into the catalogue is a portion of the original mailing envelope with the return address in Saul Steinberg's ink holograph: "From: Saul Steinberg . N.Y.C. N.Y.S USA–10021. The Pace Gallery unknown
1966592462Paris: Maeght Editeur 1966. Hardcover. Near Fine/Near Fine. First edition trade issue. Text in French by Michel Butor and Harld Rosenberg. Photographs by Inge Morath. Oblong quarto. Covers very lightly toned a few tiny bumps along the edges covers a bit wrinkled small booksellers ticket on the title page about near fine overall in a lightly toned near fine clear acetate dust jacket housed in a near fine slipcase with a bit of wear along the edges. Maeght Editeur hardcover
196610849Paris: Maeght Editeur 1966. First Trade Edition. Hardcover with slipcase. Fine/Very Good. Saul Steinberg. Oblong 4to. Unpaginated. Illustrated with color and b/w plates by Steinberg and 22 photographs by Inge Morath. Text in French. Illustrated paper-covered boards with mylar dust jacket. Housed in the cardboard slipcase with illustrated title label. Book is Fine mylar Very Good with a chip to top edge of front panel. Housed in a Fine slipcase. A fine collection that explores Steinberg's meditations on masks and their representations of the human psyche. Maeght Editeur hardcover
196625Paris: Maeght Editeur 1966. Limited Edition. Hardcover. Very good. Number 149 of a limited edition of 300 with original lithograph signed and numbered by Steinberg laid in. French language. Text by Michel Butor and Harold Rosenberg photographs by D'Inge Morath. Oblong 4to. Pictorial dust jacket over limp boards in acetate sleeve. Unpaginated. Numerous full page illustrations the majority in color by Steinerg.Small loss to top edge of acetate sleeve otherwise near fine in a near fine dust jacket. Original slip case in very good condition. Maeght Editeur hardcover
1966261889Paris: Maeght 1966. hardcover. fine/near fine. Steinberg Saul. Textes par Michel Butor et Harold Rosenberg. Photographies d'Inge Morath. Profusely illustrated throughout in color and b.w. Oblong folio pictorial dust wrapper over flexible boards wrapper is just slightly wavy as usual; original mylar and slipcase. Paris: Maeght Editeur 1966. First trade edition. A fine copy in a near fine dust wrapper.<br/> <br/> Maeght unknown
196627319Paris: Maeght Editeur 1966. Hardcover. Very good. Hardcover. Very good hardback in dustjacket publisher's mylar and slipcase. Ink name on front free endpaper else internally fine. <br/><br/> Maeght Editeur hardcover
1966AEIMSTEI0Paris: Maeght Editeur 1966. 1966. oblong folio. pp. 201. original signed & numbered lithograph loosely inserted as issued. illus. throughout mostly full-page colour. limp bds. dw. bit cockled. acetate dw tail of spine trifle chipped. First Edition Limited to 300 numbered copies. Signed by Authors. F. Hardcover. [Paris]: Maeght Editeur, [1966]. Hardcover
31283Paris Maeght 1966. Quer4° ca 100 Bl. zahlr. farb. Abb. Boschur Umschlag min gebräunt min. berieben sonst tadell. Texte von Michel Butor u. Harold Rosenberg. Photographien von Inge Morath-Magnum. «Welch ein Humor gepaart mit aussergewöhnlichem zeichnerischem Talent.» 010 Paris, Maeght, 1966 unknown
20022-8845917185Biblioteca Adelphi 2002. Paperback. New. Italian language. 8.58x5.43x1.10 inches. Biblioteca Adelphi paperback
51-3847Saint-Paul-de-Vence France: la Fondation Marguerite et Aimé Maeght 1970. Original poster. 88.9 x 57.15 cm 35 x 22 1/2 inches. Repaired 3cm. tear in upper margin Notes Saul Steinberg born Saul Jacobson in June in Romania was a cartoonist and illustrator best known for his line drawings that suggest elaborate eclectic doodlings. Steinberg studied sociology and psychology at the University of Bucharest and architecture in Milan. From 1936 to 1939 he published his cartoons in Italian magazines. Settling in New York City in 1942 Steinberg worked as a freelance artist cartoonist and illustrator mainly for The New Yorker magazine and exhibited his drawings in Paris New York City and other cities. Steinberg’s subject matter ranges from the whimsical e.g. a wicker chair overtaken by its curlicues to the satirical sinister overgrown gadgets to the philosophical a tiny figure perched on a giant question mark balanced at the edge of an abyss. He died in New York in 1999.Né en Roumanie Saul Steinberg entreprend des études de lettres dans son pays avant de partir pour l’Italie en 1933 pour fuir l’antisémitisme. En 1940 il obtient son diplôme d’architecture à l’école polytechnique de Milan où il commence à publier dans la presse antifasciste des dessins satiriques très appréciés. Il doit de nouveau émigrer et arrive aux Etats-Unis pendant les années de guerre où il collabore avec le magazine The New Yorker qui publiera près de 1200 de ses dessins. Essentiellement dessinateur il est également illustrateur et scénographe. Il intervient comme caricaturiste et satiriste dans un domaine entre l’invention et le pastiche et utilise tous les media du dessin crayon noir et de couleur fusain gouache aquarelle mais aussi le collage. L’humour faisant partie intégrante de ses œuvres l’écriture et la calligraphie « je suis un écrivain qui dessine » appuient et accompagnent très souvent l’image et la ligne.Eugène Ionesco disait de lui : « Je crois qu’aucun autre artiste n’a su comme lui ou n’a réussi comme lui à faire de la caricature un langage et une critique métaphysiques ». Saint-Paul-de-Vence, France: la Fondation Marguerite et Aimé Maeght, 1970. unknown
197814115551978. Other. Ink or mixed media on brown paper bag. Artwork in Very Good condition. Small white stain to face of bag in upper left quadrant. Inscription in ink across front face. Frame in Very Good condition with some chipping and scuffing to edges. Signed and dated "Oct 3 '78". Bag measures 12" x 17". Laid down on poster board measuring 17.5 in. x 23 in. Shelved at Rockville PS1101 # I. Drawing dated October 3 1978 which was around the time the Whitney Museum of American Art opened to the public in Washington D.C. 1411555. Arts & Antiques. unknown
1954853177New York : Harper & Brothers 1954. 1st. Hardcover. Very Good/Good. Saul Steinberg. Hardcover 224 pages. Oversized. Tan cloth cover minor wear to edges. Dust jacket has light wear. Inside is nice and clean with 350 b&w drawings. Record # 853177 Harper & Brothers hardcover
99691Zürich Maeght 1971. 67 x 42 cm Leichte Falzspuren sonst tadellos. Mit Widmung des Künstlers: « For Peter Killer Steinberg 1971» 010 Zürich, Maeght, 1971 unknown
8845915891.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
18-3981London England: Arts Council of Great Britain 1979. . 8vo. 24 pp. Stiff soft color printed wraps. Very good with marginal edgewear toning and shaken binding. Black and white plates. Published on occasion of exhibition held at Serpentine Gallery in January and February 1979. Includes as insert a printed card with a Steinberg illustration on front and quote by Hilton Kramer on verso. First edition. From the Collection of the Art Historian Peter Selz. London, England: Arts Council of Great Britain, 1979. paperback
51-6003Paris: Galerie Maeght 1953. Folio. Original wraps. 28 x 28cm Tear lower right corner of front cover stains on rear cover outside edge. .DLM édité en mars 1953 pour la 1ère exposition de STEINBERG à la Galerie Maeght présentant 110 dessins inédits. 28 pages non reliées. 22 reproductions en couleurs dont 4 en double page. Not the reprint or second edition. Paris: Galerie Maeght, 1953. paperback
51-6008Paris: Galerie Maeght 1973. Folio. Original wraps. 28 x 28cm DLM édité en septembre 1973 pour l’exposition STEINBERG à la Galerie Maeght. Texte de Hubert Damish « Tables d’évidences ». 32 pages non reliées. 3 lithographies originales dont 2 en double page et 8 reproductions en noir. Tirage original. Epuisé en diffusion. Paris: Galerie Maeght, 1973. paperback
20222-3791388916Prestel Pub 2022. Hardcover. New. 152 pages. 15.00x9.00x0.79 inches. Prestel Pub hardcover
51-6827Paris: Maeght Éditeur 1973. Original; wraps. 38.1x28.1 cm 15x11".Derrière le Miroir No. 205 - Septembre 1973. 1973. With 4 original lithographs.DLM édité en septembre 1973 pour l’exposition STEINBERG à la Galerie Maeght. Texte de Hubert Damish « Tables d’évidences ». 32 pages non reliées. 3 lithographies originales dont 2 en double page et 8 reproductions en noir. Tirage original.Famed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me†he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 1973 paperback
51-6825Paris: Maeght Éditeur 1953. Original; wraps. 38.1x28.1 cm 15x11".With 22 lithographs 16 in color of which 4 are double-page spreads including covers.Note that since at least 1981 Maeght has been selling a facsimile Réédition of the original.It can be identified by the cover in which "Steinberg/1953" is printed. In the original of 1953 Steinberg's name is in his own handwriting and there is no date on the cover.DLM édité en mars 1953 pour la 1ère exposition de STEINBERG à la Galerie Maeght présentant 110 dessins inédits. 28 pages non reliées. 22 reproductions en couleurs dont 4 en double page.Famed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me†he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 1953 paperback
51-6826Paris: Maeght Éditeur 1966. Original; wraps. 38.1x28.1 cm 15x11".Derrière le Miroir No. 157 - Mars 1966. 1966. With 19 reproductions: 7 in color of which 2 are double-page.Derrière le Miroir accompagnant l'exposition Saul STEINBERG à la Galerie Maeght en 1966. Format 38 x 28 cm 24 pages incluant 19 reproductions. Derrière Le Miroir n°157 including covers.Famed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me†he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 1966 paperback
51-6828Paris: Maeght Éditeur 7. Original; wraps. 38.1x28.1 cm 15x11".Derrière le Miroir No. 224 - Mai 1977. 1977. With 4 original lithographs including covers.l.DLM édité pour l’exposition STEINBERG à la Galerie Maeght en mai 1977. Texte d’Italo Calvino « La Plume à la première personne ». 26 pages non reliées. 4 lithographies originales en couleurs et 22 reproductions dont 11 en couleurs et 1 en double page. Tirage original.IFamed worldwide for giving graphic definition to the postwar age Saul Steinberg 1914-1999 had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades he was equally acclaimed for the drawings paintings prints collages and sculptures he exhibited internationally in galleries and museums.Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art however resists conventional critical categories. “I don’t quite belong to the art cartoon or magazine world so the art world doesn’t quite know where to place me†he said. 1 He was a modernist without portfolio constantly crossing boundaries into uncharted visual territory. In subject matter and styles he made no distinction between high and low art which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. Paris: Maeght Éditeur, 7 paperback
0964834529.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
