Uecker, Günther (1930)Antiquariat.de
228 résultats
199216445Cantz, Edition, 1992. 119(1) Seiten, OLeinen m. OU in Leinen-Kassette 45x32cm, Zum Ausstellungskatalog in Wien 1992 wurde diese vorliegende Vorzugsausgabe in einer Auflage von 15 Unikaten herausgegeben. Das Unikat ist rückseitig von Uecker signiert mit Jahreszahl versehen und am oberen Rand an der Mappe montiert. Es liegt in einer separaten Mappe lose der Kassette bei. Sehr gutes Exemplar. Fine copy with an unicat artwork by Uecker. Info zur Abbildung: sie ist quer eingestellt: bitte nach rechts aufgestellt vorstellen! (ein technischer Fehler). [2 Warenabbildungen]
195948782Antwerp.: Hessenhuis Anvers. 1959. Original stapled paper covers half-sized front cover showing the aluminated plate by Heinz Mack as published. Slight creasing to cover otherwise a very good copy. Square 4to. 212 x 214 mm. Introduction in Dutch and French by Marc Cammewaert curator of the show. Text in French by Bathazar on Bury. The very early and rare document on the Zero Group and New Realism together with the invitation to the vernissage. This legendary exhibition was held at the Hessenhuis Antwerp March 21 - May 3 1959 the vernissage was on 21st March.Contributing artists were Breer Pol Bury Yves Klein Heinz Mack Mari Bruno Munari Necker Dieter Rot Soto Daniel Spoerri Jean Tinguely and Van Hoeydonck.The catalogue contains 2 black and white reproductions of works by Mack; Otto Piene - text in German French English and 1 reproduction of the work 'reines Licht' Pure Light; Pol Bury - two lacerated blank plates; Dieter Rot - 'Carré dépliable' Unfoldable Square originally published in No.2 of the Spoerri's artist magazine 'Material'; Emmett Williams - 'Progression' folding sheet poem to be published in the forthcoming issue No.3 of 'Material'; P. Van Hoeydonck - a text by Maurits Blicke. Tinguely's contribution is the reproduction of his manifesto 'Für Statik' For Statics which he had dropped just a week before the opening of this show March 14th from an airplane on Düsseldorf Germany. Hessenhuis Anvers. unknown
199713272DBSt. Gallen, Erker-Presse, 1997. 4°. 31,5 x 23,0 cm. [8] Doppelblätter Büttenpapier in Original-Kartonmappe mit Original-Schutzumschlag. [4 Warenabbildungen]
196065476ABMilano., E.P.I. editoriale periodici italiani., 1960. 30 x 21 cm. 24 unpaginierte S. OKarton., 65476AB Umschlag an den Rändern leicht nachgedunkelt, etwas angestaubt und am Rücken etwas berieben und marginal knitterspurig. Gutes Exemplar.
197031224BBStoccarda [Stuttgart], Cantz, 1970. 36,5 x 21,8 cm. 4 Hefte mit je einer Original Grafik ( z.B. Uecker Prägedruck) - 36 Bl., Abb. mit Text. In Mappe. Sehr schön und sauber erhalten!
197063329ABStoccarda [Stuttgart], Cantz, 1970. 36,5 x 21,8 cm. 4 Hefte mit je einer Original Grafik ( z.B. Uecker Prägedruck) - 36 Bl., Abb. mit Text. in Umschlag. sehr guter Zustand. sehr schön erhalten.
197735358BBKarlsruhe, Rottloff, 1977. 30 x 30 cm. 230 S. zahlr. Ill. (z.T. farb.). 40 farbige Original Seriegraphien. Roter Leineneinband - kein Schutzumschlag. Geringe Textbräunung, sehr schön und sauber erhalten!
1958219095New York 1958. Published in PORTRAITS: the Photographs of Carl Van Vechten 1978 edited by Saul Mauriber. Half length portrait of the comedian in costume. Gelatin silver print. 1 vols. 33.5 x 23.7 cm. Approximately 13-1/8 x 9-1/4 inches. Fine.Atelier stamp on verso and docketed in ink giving the subject of the photograph "Zero Mostel as Leopold Bloom in Ulysses in Nightown" the date and the number of negative and print "IV qq 7". Published in PORTRAITS: the Photographs of Carl Van Vechten 1978 edited by Saul Mauriber. Half length portrait of the comedian in costume. Gelatin silver print. 1 vols. 33.5 x 23.7 cm. Approximately 13-1/8 x 9-1/4 inches. Burgess Meredith's production in 1958 marked a comeback for one of America's greatest comedians. Mostel whose career had been stalled by his McArthur-era blacklisting made a triumphant return to the stage as Bloom. unknown
1958219094New York 1958. Full length. Gelatin silver print. 1 vols. 33.7 x 23 cm. Approximately 13-1/4 x 9 inches. Fine. Atelier stamp on verso and docketed by Van Vechten in ink giving the subject of the photograph "Zero Mostel as Leopold Bloom in Ulysses in Nightown" the date and the number of negative and print "IV qq 15". Full length. Gelatin silver print. 1 vols. 33.7 x 23 cm. Approximately 13-1/4 x 9 inches. Burgess Meredith's production in 1958 marked a comeback for one of America's greatest comedians. Mostel whose career had been stalled by his McArthur-era blacklisting made a triumphant return to the stage as Bloom. unknown
1958219094New York 1958. Full length. Gelatin silver print. 1 vols. 33.7 x 23 cm. Approximately 13-1/4 x 9 inches. Fine. Atelier stamp on verso and docketed by Van Vechten in ink giving the subject of the photograph "Zero Mostel as Leopold Bloom in Ulysses in Nightown" the date and the number of negative and print "IV qq 15". Full length. Gelatin silver print. 1 vols. 33.7 x 23 cm. Approximately 13-1/4 x 9 inches. Burgess Meredith's production in 1958 marked a comeback for one of America's greatest comedians. Mostel whose career had been stalled by his McArthur-era blacklisting made a triumphant return to the stage as Bloom. unknown books
1958219095New York 1958. Published in PORTRAITS: the Photographs of Carl Van Vechten 1978 edited by Saul Mauriber. Half length portrait of the comedian in costume. Gelatin silver print. 1 vols. 33.5 x 23.7 cm. Approximately 13-1/8 x 9-1/4 inches. Fine.Atelier stamp on verso and docketed in ink giving the subject of the photograph "Zero Mostel as Leopold Bloom in Ulysses in Nightown" the date and the number of negative and print "IV qq 7". Published in PORTRAITS: the Photographs of Carl Van Vechten 1978 edited by Saul Mauriber. Half length portrait of the comedian in costume. Gelatin silver print. 1 vols. 33.5 x 23.7 cm. Approximately 13-1/8 x 9-1/4 inches. Burgess Meredith's production in 1958 marked a comeback for one of America's greatest comedians. Mostel whose career had been stalled by his McArthur-era blacklisting made a triumphant return to the stage as Bloom. unknown books
197016420Venedig, 1970. Hefte je 16 Seiten, ca. 36,5x22 cm. Die 4 OBroschuren in OMappe. Mappe etwas berieben und etwas gebräunt; die Broschur von Uecker minimal berieben, die Grafiken in sehr gutem Zustand. Grafiken: Thomas Lenk: Farbserigrafie auf Transparentpapier. Heinz Mack: Serigrafie in Silber auf Karton. Georg Karl Pfahler: Farbserigrafie auf Karton. Günther Uecker: Nagelbild Prägedruck. Texte in deutsch - englisch - italienisch. So komplett eher selten. Gutes Exemplar. Good copy with 4 original graphics. Rare.
197036420ABEssen., Museum Folkwang., 1970. 36,5 x 22,5 cm. 64 unpaginierte S. OKarton-Mappe, OKarton in OPapp-Versandkarton (ungenutzt)., 36420AB 4 Bände in Mappe. 1. Auflage. Sehr gutes, nahezu druckfrisches Exemplar.
196763033ABFrankfurt, Seide, 1967. 313 S., tls. signierte Original Grafiken als Beilage. Or.Kart., broschiert. Einb. m. leichten Gebrauchsspuren, innen sehr guter Zustand. Egoist-Bibliothek Bd. 1.
197051493ABEssen., Museum Folkwang., 1970. 37 x 23 cm. 64 unpaginierte S. OKarton-Mappe, OKarton., 51943A 4 Bände in Mappe. 1. Auflage. Mappe vorne mit einem schwachen, kreisrunden Feuchtigkeitsfleck ohne Auswirkungen, sonst sehr gutes Exemplar.
197224302ABMünchen., Verlag Edition Heseler., 1972. 29 x 21 cm. 67 S. 6 Falttafeln. OKarton mit OUmschlag und bedrucktem, transparentem OFolienumschlag., 24302AB Sehr gutes Exemplar.
195964369ABRotterdam., Hans Sonnenberg., [1959]. 28 unpaginierte S. OKarton., 64369AB_1 Kapital mit einem winzigen Riss, sonst sehr gutes und frisches Exemplar.
196521901New York: Horizon Press 1965. Near Fine/No Dust Jacket As Issued. <br /> <br /> A TOWERING ASSOCIATION COPY OF ZERO MOSTEL'S VISUAL AND VERBAL SELF-PORTRAIT INSCRIBED TO THE MAN WHO PUBLISHED IT. <br /> This copy number 2 of only 250 captures the raw kinetic energy of Mostel through Max Waldman's photography and Mostel's own idiosyncratic drawings. The deeply personal inscription to Ben Raeburn-the 'oldest flame' in Mostel's life-transforms this from a standard limited edition into a primary archival artifact of the Horizon Press legacy.<br /> <br /> KEY FEATURES<br /> Visuals: Lavishly illustrated with high-contrast photographs by Max Waldman and original drawings by Zero Mostel. <br /> Binding: Full cloth with gilt-stamped spine; housed in the original coordinate slipcase. <br /> Imprint: Horizon Press New York 1965. <br /> Specs: 11.5 inches tall 4to; unpaginated. <br /> Provenance: From the estate of Horizon Press publisher Ben Raeburn. <br /> <br /> LIMITATION & SIGNATURES<br /> Number 2 of 250 numbered copies signed by Zero Mostel on the limitation page.<br /> Association Inscription: Inscribed in a different ink by Mostel to his publisher: 'To Ben Raeburn / The oldest flame in my life - with / my love and esteem - whatever that / means. - Regards to Pearl & Ricky too. / Zero Mostel'. Note: 'Pearl' refers to Ben's wife Pearl Raeburn and 'Ricky' likely refers to their son.<br /> <br /> CONDITION: Near Fine.<br /> The Book: The bindings are tight and square. The internal text is clean and free of markings displaying only light even age-toning. The spine shows light uniform sun-darkening common to this cloth.<br /> The Slipcase: The original slipcase is present and structurally sound showing only minor shelf handling wear.<br /> <br /> SCHOLARLY FEATURES<br /> Artistic Merit: Max Waldman's photography captures Mostel not just as a performer but as a physical sculpture of emotion documenting the 'Theater of the Body' that made Mostel a mid-century icon.<br /> Design: Reflects Ben Raeburn's commitment to 'Total Book Design' prioritizing the tactile relationship between the unvarnished cloth and the heavy art-grade paper stock.<br /> Scholarship: Serves as a primary document of Mostel's polymathic nature proving that his artistic output was as vital as his stage presence in 'Fiddler on the Roof' or 'Ulysses in Nighttown'. HISTORICAL SIGNIFICANCE -<br /> Zero Mostel was more than a comedic force; he was a blacklisted artist who resurrected his career to become a pillar of the American stage. His relationship with Ben Raeburn and Horizon Press was foundational as Raeburn provided a sophisticated literary platform for Mostel's graphic and prose experiments.<br /> <br /> This volume is a landmark of 1960s independent publishing. Horizon Press under Raeburn was a sanctuary for high-level modernism and this collaboration between Mostel and Waldman represents the press at its most avant-garde.<br /> <br /> ASSOCIATION COPY<br /> This is a definitive Association Copy. As copy #2-likely the first copy Mostel presented to his publisher-it documents the intimate bond between artist and editor. The mention of 'Pearl & Ricky' Raeburn's family in the inscription underscores a decades-long personal friendship that transcended the professional contract.<br /> <br /> SUBJECTS: Zero Mostel Max Waldman Horizon Press Photography Performing Arts Jewish-American Artists Association Copy Signed Limited Edition Art Monograph Horizon Press unknown
199913418DBMönchengladbach, B. Kühlen Verlag, 1999. Folio. 44,4 x 34,5 cm. Unpaginiert. Original-Pappband mit Deckelillustration in Gold und Farben und Schließbändern in Dunkelblau. Unpaginiert. [9 Warenabbildungen]
199960264BBMönchengladbach, B. Kühlen Verlag, 1999. Folio. 44,4 x 34,5 cm. Unpaginiert. Original-Pappband mit Deckelillustration in Gold und Farben und Schließbändern in Dunkelblau. Unpaginiert. [5 Warenabbildungen]
194919458Kokomo IN: Recreational Reading Inc. 1949. A fine copy. 19458. Octavo single issue cover by DeSoto pictorial wrappers. Pulp magazine. First issue of this short lived magazine. From midnight to dawn Captain Zero becomes invisible. This magazine ".was the final new single-character publication to feature a mystery figure battling for justice." - Cook Mystery Detective and Espionage Magazine pp. 83-87. "City of Deadly Sleep" by G.T. Fleming-Roberts. Recreational Reading, Inc. unknown
1969152375N.p.: N.p. 1969. Vintage borderless reference photograph taken on the set of the 1969 film showing Kim Novak topless mid-costume change aided by two wardrobe ladies. <br /> <br /> Based on the 1961 novel. A genre-bending film combining heist comedy and Western genres in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. <br /> <br /> 7.5 x 9.5 inches. Near Fine. N.p. unknown
1969152375N.p.: N.p. 1969. Vintage borderless reference photograph taken on the set of the 1969 film showing Kim Novak topless mid-costume change aided by two wardrobe ladies. <br/><br/>Based on the 1961 novel. A genre-bending film combining heist comedy and Western genres in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. <br/><br/>7.5 x 9.5 inches. Near Fine. N.p. unknown books
196610110BB(Köln, Galerie Der Spiegel, 1966). Gr. 4°. 29 Blatt mit Abbildungen und 2 signierten Serigraphien. Illustr. OBr., 1 (= Geh durch den Spiegel 45).
1908509035Dublin: The University Press 1908. Softcover. Very Good. First edition. 12mo. 15pp. Tan pictorial wrappers printed in red. Moderate soiling and light creasing on covers else a very good copy of a scarce pamphlet. OCLC locates two copies. In his preface the anonymous poet states: "I offer you this little book having first received your sixpence in the hope that the soulful pathos of its lines may touch your conscience and lead you to own up. The joke has gone quite far enough: and as some one must have the Slipper it would be a much better game to hand out and stop the hunt-- a game at which Irishmen are au fait to which so-called Irishment submit Yours gently Zero. Badly-Had Street Dublin. (The University Press) unknown
